Calrec BRIO 36 User Manual

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BRIO 36 USER MANUAL V1.1

Audio Production System with Optional Networking

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Calrec Audio Ltd

Nutclough Mill Hebden Bridge West Yorkshire England UK HX7 8EZ

Tel: +44 (0)1422 842159 Fax: +44 (0)1422 845244 Email: enquiries@calrec.com

calrec.com

No part of this manual may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and scanning, for any purpose, without the prior written consent of Calrec Audio Ltd.

Whilst the Company ensures that all details in this document are correct at the time of publication, we reserve the right to alter specifications and equipment without notice. Any changes we make will be reflected in subsequent issues of this document. The latest version will be available upon request. This publication is for International usage.

Calrec Audio Ltd reserve the right to change specifications without notice. E & O.E.

The established policy of Calrec Audio Ltd. is to seek improvements to the design, specifications and manufacture of all products. It is not always possible to provide notice outside the company of the alterations that take place continually.

Despite considerable effort to produce up to date information, no literature published by the company nor any other material that may be provided should be regarded as an infallible guide to the specifications available nor does it constitute an offer for sale of any particular product.

Apollo, Artemis, Summa, Brio, RP1, Hydra Audio Networking and Bluefin High Density Signal Processing (HDSP) are trade marks of Calrec Audio Ltd. Dolby®E is a registered trade mark of Dolby Laboratories, Inc. All other trade marks are acknowledged.

BRIO 36

CONTENTS 3

PRODUCT INFORMATION 13

INFORMATION 14

Repairs 14 Standard of Service 14 Serial Numbers 15 After Sales Modifications 15 Installation 15 Service Personnel 15 Third Party Equipment 15 ESD (Static) Handling Procedures 16 RoHS Legislation 16 ISO 9001 and ANAB Registered 16

HEALTH AND SAFETY 17

Important Safety Instructions 17 Cleaning 17 Explanation of Warning Symbols 17 Earthing 18 Lithium Battery Replacement 18

PACKAGE CONTENTS 19

SYSTEM OVERVIEW 21

SURFACE OVERVIEW 22

CONTROL SURFACE SECTIONS 23

Fader Strip 23

Fader Display 24

Control Cell Display 25 Screen Area 26 Talkback Microphone 26 Context Based Rotary Controls 26 Console Monitors 26

Studio Monitors 27

Linking Paths 27 Surface Layers 27 Global User Buttons 27

TOUCH INTERFACE 28

Touch Display Views 28

INPUTS, OUTPUTS AND BUSES 30

Identifying Paths 30 Inputs 30 Buses 31 Bus Outputs 32 Path Outputs 32 Console Outputs 32 Inserts 33

HYDRA2 PATCHBAYS 35

Console Specific or Shared 35 Remote Patching 35 Port Sharing 36 Unpatching 37 Hydra2 Patchbays at different sample rates 37

INTERFACING STYLES 38

Physical Controls 38 Touch Display 38

LAYERS 40

Layer Switching Options 40 Surface Layer Pop-up 41

96KHZ OVERVIEW FOR BRIO 36 42

SETTING UP 43

GENERAL 44

General Settings 44 Surround Leg Suffixes 44 Date and Time 44

ENERGY SAVER 45

Brightness 45 Surface Sleep 45

SYNCHRONISATION 46

Synchronisation at different sample rates: 46 Reset to First Source 48 Sources and Frame-Rates 49

HYDRA2 CONFIGURATION 50

System ID Change 50 H2O Change 51 Auto Promote 51

4 BRIO 36 Audio Production System with Optional Networking CONTENTS

REQUIRED I/O BOXES 52

Viewing Resources 52 Adding and Removing Resources 53

SHOWS 54

Entering the Shows List 56 Active Show 56 Loading a Show 56 Setting up a New Show 56 Deleting a Show 56 Shows List for Different Sample Rates 57 Editing a Show 57 Duplicating a Show 57 Moving Shows between Systems 57 Show Templates—Admin Only 58 Setting Up and Editing Templates—Admin Only 58 Updating Templates—Admin Only 58 Backing Up Shows 58 Restoring Shows 59 Settings Stored within Shows 59

MEMORIES 60

Loading a User Memory 60 Creating a new User Memory 60 Updating a User Memory 60 Creating Multiple User Memories 61 Storage Capacity 61 Memory Isolation 61

GLOBAL USER BUTTONS 64

CUSTOM STRIP CONFIGURATION 65

Custom Strip Functions / Console Wide Functions Selection 66

GETTING SIGNALS IN AND OUT 67

FADER LAYOUT 68

Attaching a Path to a Fader 69 Settings 70 Editing Labels 71 Port Labels 71 Cloning Paths 71 Moving Paths to Different Faders 72 Deleting Paths from Faders 72 Lock a Fader to the Surface 72 Consoles at 96kHz 73 I/O and Hydra2 Patchbays at 96kHz 73

INPUT AND OUTPUT PATCHING 74

The I/O Patching Screen 74 Selecting Sources and Destinations 74 Understanding Ports 75 Icons 76 Channel Settings 76 Layer View 76 Surface Interaction 76 Connected Destination 76 Information Display 76 Viewing and Sorting 77 Making a Patch 77 Moving a Destination 77 Protect a Patch from Memory Loads 78 Isolating a Patch 78 Removing a Patch 78 Inputs 1 and 2 78 Patching Outputs to Inputs 78

INPUT CONTROLS 79

I/O Box Input Port 79 The Channel Input 79 Mic/Gain 80 Providing Console Wide Strip User Controls 81 Group Input Controls 82 Linking Input 1 and Input 2 Trims 82 Replay 83 Stereo & 5.1 path spill leg access and independence for Input settings 84

SOURCE AND DESTINATION PROTECTION 86

Destination Protection 87 Source Protection 88 User Memory Load Protection 88

EXTERNAL INPUTS 89

Creating External Inputs 89 Removing External Inputs 90 Labelling External Inputs 90 Patching to External Inputs 90 Monitoring External Inputs 90 Metering External Inputs 91

DIRECT OUTPUTS 92

Assigning a Direct Output 92 Removing a Direct Output 92 Downmix/Spill 92 Direct Output Controls 92

6 BRIO 36 Audio Production System with Optional Networking CONTENTS

MIX MINUS OUTPUTS 94

Assigning a Mix Minus Output 94 Removing a Mix Minus Output 94

BUS OUTPUTS 95

Mains 95 Auxes 95

TONE AND OSCILLATOR 96

Routing Tone to a Channel 96 Routing Tone to Buses 96 Routing Tone to Path Outputs 97 Oscillator Controls 98 Clearing Tone 98 Tone and Talkback Active Notification 98 Tone Idents 99

PROCESSING 101

EQUALISER 102

Touch Display EQ Controls 102 Bypass and Alternate EQ 103 EQ Settings 103 EQ Independence Controls for Stereo and 5.1 Paths 104 EQ displays of Non-independent Controls for Stereo and 5.1 Paths 105 Removing Independence from Spill Legs 105

DYNAMICS 106

Compressor/Limiter 1 & 2 106 Expander/Gate/Ducker 108 Global Module Controls 108 Dynamics Links 108 Compressor/Limiter Controls 108 Expander/Gate/Ducker Controls 109 Sidechain Source 111 Sidechain EQ 112 Multiband Compressor 113 Dynamics Independence Controls for Stereo and 5.1 Paths 114

Dynamics displays of Non-independent Controls for Stereo and 5.1 Paths 115

Removing Independence from Spill Legs 115 Compressor / Limiter 1 Module and AutoMixers 115

AUTOMIXERS 116

Applying AutoMixers to Paths 116 Setting Individual Path Weightings 116 AutoMixer Controls 116 AutoMixer Global Controls 117

PAN CONTROLS 118

Surround Mains and Groups 118 Pan Controls 119 Pan to Auxes 119 Stereo & 5.1 path spill leg access and independence for Pan settings 120

DELAY 122

Accessing Delay Controls 122 Global Delay Controls 123

INSERTS 124

Path Inserts 124 Patching Inserts 124 In/Out 124 Insert and Width Tab Controls 125 Stereo & 5.1 path spill leg access and independence for Insert settings 126

VCA GROUPS 127

Creating and dissolving VCA Groups 127 VCA Group Status Indication 127 Secondary Master 128 Masters and Paths 129 Other VCA information 129

5.1 Surround Paths 130 VCA Group Protection 130 VCA Non-Moving Faders 130

THE FADER SCREEN 131

VCA Slave 132 VCA Master 133 VCA Slaves on Buses and Outputs Page 134 Surround Paths 134 Downmix Faders 134 CSCP control 135

AUTOFADERS 136

AutoFader Controls 136 Setting Up AutoFaders for use 137 Assigning GPI’s to AutoFaders 137 Assigning AutoFaders to faders 138 AutoFader levels 138 AutoFader parameter settings 138 Global AutoFader Bypass 138 Default Fader Interaction Mode 139

CONTROL LINKING 140

Identifying Linked Faders 140 Link Features 140 Access Follows Link 141

8 BRIO 36 Audio Production System with Optional Networking CONTENTS

PRESETS 142

Creating a Preset 142 Loading a Preset 143 Updating a Preset 143 Backing Up and Restoring Presets 144 Editing a Preset 144 Pooled Resources 144

COPY AND PASTE 145

It’s quick and easy to copy properties from one path and paste them to another 145

MONITORING 147

CONNECTING MONITORS 148

MONITOR CONTROLS 150

THE MONITORING POP-UP 151

Favourite Monitor Sources 151 Monitoring External Inputs 151 Settings 151

PFL, AFL AND OUTPUT LISTEN 153

AFL 153 PFL 153 Output Listen (OPL) 153 PFL Position in Audio Chain 153 Access from Faders 154 Access from the Touch Display 154 Global Cancel 154 Sending PFL to the Console Monitor 154

METERING 155

METER DISPLAY LAYOUT WITH CUSTOMISATION 156

Customising Meter Layouts 156 Meter Layout Presets 157

METER TYPES 158

PPM or VU? 158 Fader Meters 158 External Input Meters 159 Bus and Output Meters 159 Loudness Meters 160 Loudness Meter Controls 160 User Meters 162 Meter Position in Audio Chain 162

COMMUNICATIONS 163

TALKBACK 164

Touch Display Talkback Buttons 164 Surface Talkback Buttons 164 Patching to Talkback 164 On-Air / Rehearse Settings 165 Reverse Talkback 165 Talkback & Reverse Talkback Levels 166

MIX MINUS 167

Why remove a source’s own input from its foldback mix? 167 Mix Minus Output 167 Mix Minus using the Auto Minus bus 168 Mix Minus using Auxes 169 Setting up a Mix Minus output 169 Mix Minus Controls 169 Off Air Conference Bus 171 Surface Controls 171

ROUTING 173

BUSES AND OUTPUTS 174

Direct Outputs and Mix Minus 174 Unconfigured Buses 174 Configuring Buses 174

ROUTING A SIGNAL 176

Routing a signal in Brio 36 is quick and simple: 176 Partial Routing 177

CONTRIBUTION 178

DOWNMIXING 180

LoRo 180 Downmix Settings 180 Downmix Defaults 181 Offsets 181

10 BRIO 36 Audio Production System with Optional Networking CONTENTS

EXTERNAL INTERFACING 183

GENERAL PURPOSE INPUTS AND OUTPUTS 184

GPI Functions 184 Assigning GPIs 185 Moving a GPI destination 185 Removing a Destination 185 GPO Functions 186 Assigning GPOs 186 Moving a GPO Function 186 Removing a Destination 186 GPO Actions & Invert 186 Pulse Time 187 Testing GPO Functioning 187

MIC OPEN SYSTEMS AND ON AIR PROTECTION CONFIGURATION 188

Assigning Inputs to Mic Open Systems 189 Assigning to CUT/DIM Loud Speakers for On Air Protection 189 Mic Open systems and multi-leg paths 189

CONTROL PROTOCOLS 190

CSCP 190 Setting Up CSCP 190

LAN CONFIGURATION 192

CONSOLE FACILITIES 193

ON AIR PROTECTION 194

Changing Modes 194 On Air Mode via GPI 194

SYSTEM STATUS MONITORING 196

Notifications 196

COLLECTING SYSTEM LOGS 197

TERMINOLOGY 199

FEATURES BY SOFTWARE VERSION 207

FEATURES 208

V1.0 208 V1.1 209

12 BRIO 36 Audio Production System with Optional Networking

BRIO 36

PRODUCT INFORMATION

calrec.com

INFORMATION

Should you require any technical assistance with your Calrec product please contact your regional Calrec distributor. Customers within the UK or Ireland should contact Calrec directly. For a complete list of worldwide distributors by region, go to www.calrec.com or contact us for more information.

Telephone (9:00am–5.30pm): +44 (0) 142 284 2159

Email – Technical: support@calrec.com Email – General: enquiries@calrec.com Postal Address: Calrec Audio Ltd

Nutclough Mill Hebden Bridge West Yorkshire HX7 8EZ UK

Our UK Customer Support team work closely with our global distributor network to provide the highest level of after sales support. Your distributor should be your first point of contact and will often be able to provide an instant solution, be it technical advice, spares or a site visit by an engineer.

Product Warranty

A full list of our conditions and warranties relating to goods & services is contained in the Company’s standard Terms and Conditions. A copy of this is available on request.

Repairs

If you need to return goods to Calrec, for whatever reason, please contact your regional distributor or Calrec customer support beforehand for guidance, as well as to log the details of the problem and receive a reference number. For customers outside the UK and Ireland, shipping via the distributor saves customers from dealing with exportation paperwork. If there is a need to send direct to Calrec, contact us beforehand to log the incoming repair and for assistance with exportation documents.

Standard of Service

We strive to ensure the highest possible standards. If you have any comments on the level of service, product quality or documentation offered to you by Calrec, please contact the Calrec Customer Support team in the UK who will endeavour to address the issues. Calrec welcomes all customer feedback. For feedback specific to this document, please contact enquiries@calrec.com.

Whenever you contact Calrec Customer Support please have the following information to hand:

• Name

• Company

• Email address

• Full details of enquiry (e.g. fault report)

• Serial number of faulty hardware (if applicable)

Once this information has been provided, a service ticket will be created to log your enquiry. The service ticket reference number will be given via email.

14 BRIO 36 Audio Production System with Optional Networking PRODUCT INFORMATION

Serial Numbers

All units produced by Calrec are given a serial number and are booked into a central record system at the time of manufacture. These records are updated whenever a piece of hardware is dispatched to or received from a customer. When contacting Calrec Customer Support with a hardware inquiry it is important that the correct Calrec serial number is provided to enable the customer support team to provide a high level of service. Brio 36 serial numbers can be found on the label on the rear of the chassis as shown in Figure 1.

FIGURE 1 - LABEL ON REAR OF CHASSIS

After Sales Modifications

Please be aware that any modifications other than those made or approved by Calrec Audio Limited or their agents, may invalidate the consoles warranty. This includes changes to cabling provided by Calrec and variations to the recommended installation as detailed in Calrec documentation.

Modifications to this equipment by any party other than Calrec Audio Limited may invalidate EMC and safety features designed into this equipment. Calrec Audio Limited can not be liable for any legal proceedings or problems that may arise relating to such modifications.

If in doubt, please contact Calrec Audio Limited for guidance prior to commencing any modification work.

Installation

In many installations the AC power connectors will not be readily accessible, effectively making the equipment permanently connected. The installation should be carried out in accordance with all applicable installation rules and regulations.

Service Personnel

The AC power disconnect devices are the 2 x IEC (IEC60320-1 C13/C14) couplers located at the rear of each unit. WARNING: The apparatus has a dual power system. It is essential that BOTH AC power IEC couplers are disconnected to prevent exposure to hazardous voltage within the unit.

Third Party Equipment

Integrating third party equipment into a Calrec system may compromise the product’s ability to comply with the Class B radiated emission limits set in the latest EMC (Electro Magnetic Compatibility) standard. Calrec Audio Limited can not be responsible for any non-conformities due to use of third party equipment. If in doubt, please contact Calrec Audio Limited for guidance prior to integrating any third party equipment.

ESD (Static) Handling Procedures

In its completed form, this equipment has been designed to have a high level of immunity to static discharges. However, when handling individual boards and modules, many highly static-sensitive parts are exposed. In order to protect these devices from damage and to protect your warranty, please observe static handling procedures, for example, use an appropriately grounded anti-static wrist band.

All modules and cards should be returned to Calrec Audio Limited in anti-static wrapping. Calrec Audio Limited can supply these items upon request, should you require assistance. This applies particularly to digital products due to the types of devices and very small geometries used in their fabrication, analogue parts can however still be affected.

RoHS Legislation

In order to comply with European RoHS (Reduction of Hazardous Substances) legislation, Calrec PCB and cable assemblies are produced with lead-free (tin/copper/silver) solder instead of tin/lead solder. In the unlikely event of a customer having to carry out any re-soldering on Apollo, Artemis, Summa, Brio 36 or Hydra2 hardware, it is imperative that lead-free solder is used; contaminating lead-free solder with leaded solder is likely to have an adverse effect on the long-term reliability of the product. Circuit boards assembled with lead-free solder can be identified (in accordance with IPC/JEDEC standards) by a small oval logo on the top-side of the circuit board near the PCB reference number (8xx-xxx). The same logo is used on the connector hoods of soldered cable assemblies.

If in doubt, please check with a Calrec customer support engineer before carrying out any form of re-soldering.

ISO 9001 and ANAB Registered

Calrec Audio Ltd has been issued the ISO9001: 2008 standard by the Governing Board of ISOQAR.

The award, for both UKAS and ANAB registration, is the most comprehensive of the ISO9000 international standards. Granted in recognition of excellence across design, development, manufacture and after- sales support, the certification follows a rigorous and thorough review of Calrec’s internal and external communication and business procedures.

FIGURE 2 - LEAD FREE

FIGURE 4 - UKAS REGISTRATION

FIGURE 3 - LEAD FREE STICKER

FIGURE 5 - ANAB REGISTRATION

16 BRIO 36 Audio Production System with Optional Networking PRODUCT INFORMATION

HEALTH AND SAFETY

Important Safety Instructions

• Read these instructions.

• Keep these instructions.

• Heed all warnings.

• Follow all instructions.

• Do not use this apparatus near water.

• Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.

• Protect the power cord from being walked on or pinched particularly at the plugs, convenience receptacles, and the point where they exit from the apparatus.

• Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus

• When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.

• Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.

• Warning: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture.

• Not intended for outdoor use.

• This equipment must be EARTHED.

• Before starting any servicing operation, equipment must be isolated from the AC power supply. The disconnect devices are the 2 x IEC connectors (IEC 60320-1 C13/C14 couplers).

• Do not allow ventilation slots to be blocked. Do not leave the equipment powered up with the dust cover fitted.

Cleaning

For cleaning the front panels of the equipment we recommend using a soft anti-static cloth, lightly dampened with water if required.

Explanation of Warning Symbols

Triangular warning symbols contain a black symbol on a yellow background, surrounded by a black border.

The lightning flash with arrow head symbol within an equilateral triangle, as shown in Figure 1, is intended to alert the user to the presence of dangerous voltages and energy levels within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock or injury. The exclamation mark within an equilateral triangle, as shown below, is intended to prompt the user to refer to important operating or maintenance instructions in the documentation supplied with the product.

FIGURE 1 - DANGEROUS VOLTAGES

FIGURE 2 - IMPORTANT INFORMATION

Earthing

This is a Class I product. An Earth connection MUST be provided in each AC power cord.

The Earth Bolt connection at the rear of the console should be connected to Earth using Earth cable at least 6mm in cross section (10 AWG), this connection is optional and is NOT a requirement to comply with safety standards.

Lithium Battery Replacement

Caution: Danger of explosion if battery is incorrectly replaced. Replace only with the same or equivalent type. Batteries must not be exposed to excessive heat such as sunshine, fire or the like.

This device complies with part 15 of the FCC Rules. Operation is subject to the following two conditions:

1. This device may not cause harmful interference.

2. This device must accept any interference received, including interference that may cause undesired operation.

Other Symbols in Use

For apparatus intended to be used at altitude not exceeding 2000m, a warning label containing the following symbol shown in Figure 3, shall fixed to the equipment at readily visible place.

FIGURE 3 - ALTITUDE WARNING SYMBOL

Lifting and Carrying Brio 36

Brio has two lifting handles on the rear of the unit. These should be used when lifting the unit into place. Note: this unit weighs approximately 30kG and requires at least 2 persons to lift or carry the unit.

Levelling or Fixing Brio 36 on a surface for table mount.

Brio has four adjustable feet on its base which can be used to level the console on a surface. Alternatively these can be removed and four M6 screws fitted to fix the console in place. Note: the screws should not screw in further than 20mm into the body of the unit.

18 BRIO 36 Audio Production System with Optional Networking PRODUCT INFORMATION

PACKAGE CONTENTS

There are a number of options when ordering Brio 36 systems: connectivity type and I/O options.

Every system includes a control surface which contains the processing core. Small format pluggable transceivers (SFPs) are required for Hydra2 I/O box connections with the optional Hydra 2 module and can be provided by Calrec. I/O packages are optional. The following table shows all Brio 36 options:-

Surface and Core Packs

Brio is supplied with 36 physical faders, arranged as 3 sets of 12 fader panels and a TFT screen with its associated controls.

Each fader has a dedicated fader meter display, 2 user definable local Switches S1 and S2 and a user

Brio 36 Surface

rotary control cell above, as well as the usual AFL/PFL and Access switches. Brio is supplied with On/Cut button caps fitted for each fader and a software option determines if this acts as a CUT or ON switch. The top right hand area contains the Access display area complete with touchscreen TFT, 8 context based rotary controls, 12 Global user switches G1 to G12, A/B layer selection, Link Switch, Monitor Controls, PFL level, Reset switch and a USB port used for data transfers. In the front of the console is provided a further USB connector and a 1/4” stereo headphone socket.

Power, Router, Control Processor, and DSP are all self contained within the unit which has 2 x IEC connectors to provide PSU redundancy. The core operates at 44.1, 48, 88.2 & 96 kHz and supports: 64 legs as mono, stereo and 5.1 Input channels

Brio 36 Core

Cabling One Y-Split IEC cable for supplying power to the surface.

Fixed I/O

Optional I/O

36 legs as mono, stereo and 5.1 Mains & Groups, (Max of 4 Mains and 8 Groups) 24 legs as mono or stereo Auxes 64 legs as Direct or Mix-minus outputs 64 legs as Insert sends & 64 legs as Insert returns Automatic Mix-Minus and an Off-Air Conference bus for Mix-minus.

I/O packs

Brio comes fitted with the following I/O:

24 x Analogue Mic/Line Input (XLR) 16 x Analogue Line Output (XLR) 8 x AES Digital Inputs with SRC (BNC) 8 x AES Digital Outputs (BNC) 4 x GPIO 9-Pin (D-SUB) connectors each with either 4 GPI or GPO giving a total of 8 in and 8 out.

The unit also has 3x double sized expansion slots in which any of the modules from the Modular I/O range can be fitted.

In addition there is an optional Hydra 2 module to allow either further I/O to be connected or to network audio with other consoles.

SFP Packs

SFPs

LX SFP Pack 4 x Single Mode SFPs

SX SFP Pack 4 x Multimode SFPs

Bi-Directional SFP Pack 2 x Bi-Directional SFPs (type A) and two Bi-Directional SFPs (type B)

Copper SFP Pack 4 x copper SFPs

One of the following options may be selected: LX SFP Pack; SX SFP Pack; Bi-Directional SFP Pack; Copper SFP Pack or none if no Hydra 2 module fitted.

20 BRIO 36 Audio Production System with Optional Networking

BRIO 36

SYSTEM OVERVIEW

calrec.com

SURFACE OVERVIEW

12 Fader Section

12 Fader Section Touchscreen Panel

12 Fader Section

Access, User and Monitor Controls, Reset & USB Port

Fader Controls AFL, PFL & Cut

Fader Displays Rotary Controls Access Buttons & User Buttons

Brio 36 is supplied with 36 physical faders, arranged as 3 sets of 12 fader panels and a TFT screen with its associated controls.

Each fader strip has a dedicated 5.1 capable meter display, 2 user definable local switches S1 and S2 and a user rotary control cell, as well as the usual AFL/PFL and Path Access switches. Brio is supplied with a Path Enable button labelled ‘On/Cut’ that can be configured to act as a Cut, or and ON button. The top right hand area contains the touchscreen UI area complete with touchscreen TFT, 8 context based rotary controls, 12 Global user switches G1 to G12, A/B layer selection, Link Switch, Monitor Controls, PFL level, Reset switch and a USB port used for data transfers. In the front of the console is provided a further USB connector and a 1/4” stereo headphone socket. All surface sections of the Brio are described in detail in the following pages.

FIGURE 1 - BRIO 36 SURFACE

22 BRIO 36 Audio Production System with Optional Networking SYSTEM OVERVIEW

CONTROL SURFACE SECTIONS

Fader Strip

Each Brio 12 fader section is made up of 12 fader strips, each containing a motorised fader, several push buttons, a rotary control knob with built-in switch and a small TFT fader display. The image below explains the operation of each button.

FIGURE 1 - FADER STRIP

Fader Display

Each fader strip includes a small TFT display. Figure 2 shows highlights each icon which can appear on the display.

FIGURE 2 - FADER DISPLAY

If any of the meter legs go into overload the background of the meter display turns RED until the level is back in range.

The AF symbol shows that there is an AutoFader in circuit and active.

The ISO symbol is displayed if the path has been isolated from changes made by memory loads. The ISO icon will be green if the path is partially isolated.

The VCA group status indicators show whether a fader or path is a:-

Master

SubMaster

or Slave

If this area of the display is labelled then it means that Path’s rotary control has also been set up as a control cell. See next page for examples.

The control label is always visible if assigned and the control value is displayed when the control is adjusted.

The DYN symbol shows that there is a dynamics element in circuit and active.

The Path label is either the native label, or the H2O user label generated within H2O or the User label which can be edited from the Brio surface.

The A1 or A2 shows that an AutoMixer is in operation on this path. The brightness of the coloured bar indicates the input ‘strength’ .

The link symbol is displayed in the same space as the lock symbol if this path is control linked with another.

The lock symbol is displayed for a short period on faders that are locked to the surface when changing layers.

The input meter is a small bar graph which displays the path’s signal level in Mono, Stereo or 5.1 Surround as shown here Note when the signal is off the bottom a label shows the name of the leg. The position of the scale markers and colour change points, as well as PPM or VU ballistics is selectable from System-Settings General, under meter style. The meter can be selected to display input or post fader audio, per path from the Meter and PFL button in the Access view’s sub-header.

24 BRIO 36 Audio Production System with Optional Networking SYSTEM OVERVIEW

Control Cell Display

The Fader Display changes mode when its rotary control is altered and the bottom of the fader display shows a bargraph with control values for the selected user function. The combination of the Fader display and the rotary control is defined as the control cell situated at the top of each fader strip. The function of these control cells varies depending on which control mode you have selected.

In normal mode, all control cells on the surface show the same control if valid for that path, e.g all input trim. In custom mode, each of the control cells can be set to a different function, e.g. fader 1 Aux 1 send, fader 2 Mic Gain etc. See Figure 3.

FIGURE 3 - CONTROL CELL

Screen Area

The top right hand area contains the Access display area with Touchscreen Interface TFT, Talkback Microphone, 8 context based rotary controls, 12 Global User buttons G1 to G12, A/B layer selection, Link Switch, Monitor Controls, PFL level, Reset switch and a USB port used for data transfers. The Touch Interface is described later see “TOUCH

INTERFACE” on page 28.

FIGURE 4 -

ACCESS DISPLAY AREA

Talkback Microphone

Brio has a built-in Talkback microphone which is situated above the G1 Global User Button in the rotary controls area.

Context Based Rotary Controls

Brio has 8 rotary controls that change function in context with the display shown on the touchscreen TFT above it.

Console Monitors

The large rotary control bottom centre adjusts the console (main) monitor level, the level indication is shown at the bottom of the touchscreen. To the left of the monitor level control are 2 buttons labelled ‘Mono’ and ‘Stereo’ pressing either of these will replace the normal 5.1 surround output with a Mono or Stereo Downmix. To the right of the monitor level control are 2 buttons labelled ‘Dim’ and ‘Cut’ which reduce the level of the monitor output by a set amount or mute it altogether. Just to the right of the Dim & Cut buttons is the ‘PFL’ level control the level of which is also displayed at the bottom of the touchscreen. There is also provision for separate loudspeakers for monitoring the console’s 5.1 PFL feed /Return Talkback LS and 5.1 AFL LS. The level controls for these appear on the context based rotary controls together with the Dim level and Dim, Cut and ‘PFL to Mon’ buttons when the Console Monitor Page is accessed.

26 BRIO 36 Audio Production System with Optional Networking SYSTEM OVERVIEW

Studio Monitors

Brio has two dedicated monitor feeds for relaying signals back to the studio floor or anywhere you need a monitor feed such as the picture gallery or for headphone feeds. Studio 1 monitor is 5.1 wide, whilst Studio 2 monitor is Stereo. The level controls for these appear on the context based rotary controls together with the Dim, Cut and Talkback buttons when either Studio Monitor Page is accessed.

Linking Paths

When paths are linked, adjustments to the parameters of one linked path are also made for all other linked paths. Adjustments are made relatively across all paths, preserving any offsets. The Link (Set/Clear) button, as shown in Figure 4, bottom left (next to the Fader Layer buttons) provides a quick way to set/clear all path linking on the surface. See “CONTROL LINKING” on page 140 for more information.

Surface Layers

The Brio surface has two layers, allowing fader-control of twice as many paths as there are faders on the surface, i.e. 72 fader paths. You can switch between layers using the Fader Layer selection buttons A & B on the surface. When selecting a layer, all fader positions, button states and control cell states change immediately to reflect faders on the newly selected layer. It is important to note that paths on the layer that is not visible are still active and will pass audio if left faded up.

Surface Reset

The surface reset button is recessed to avoid it being pressed accidentally. If a reset is required a pen or similarly pointed implement should be used to push it.

USB Ports

Brio’s USB ports can be used to connect a QWERTY keyboard or a mouse, or a keyboard/mouse combo to the system and for data backup and restore to USB memory.

Global User Buttons

Brio’s 12 Global User Buttons can be configured to perform a whole range of functions which are described in the

”GLOBAL USER BUTTONS” on page 64 section of this manual.

TOUCH INTERFACE

The touch display interface is simple and intuitive. The touchscreen active show image on the following page should help you get familiar with the names used to describe various sections of Brio 36’s touch interface.

Touch Display Views

There are three main views within the Brio 36 Touch Display interface. The Active Show view is the main page and provides access to operation screens and settings for the currently loaded Show. The Shows List button on the top left in the header provides access to the list of Shows stored on the Brio console, shows can be loaded, edited, saved and backed up here. The System Settings button on the top right in the header provides access to Brio’s settings that are stored outside the Show. These settings are still recalled in the event of a surface reset as they are stored within Brio’s continuous memory. See ”SHOWS” on page 54 and “MEMORIES” on page 60 for more information.

28 BRIO 36 Audio Production System with Optional Networking SYSTEM OVERVIEW

FIGURE 1 -BRIO 36 USER INTERFACE DISPLAY

INPUTS, OUTPUTS AND BUSES

Path is a term used to represent an audio signals route through a DSP process within the Brio 36 system, which carries audio and enables it to be processed. Paths include channels, groups, mains and auxes.

All paths can be controlled by faders and channel paths must be attached to faders to exist.

Identifying Paths

Paths can be identified easily on the surface; they are colour-coded as follows:

Channels - black background - white label, Groups - blue background - white label,

Mains - red background - white label and Auxes - green background - white label.

Inputs

Input Channels

Input channels take audio signals into the mixing console for processing, mixing and onward routing. Input signals can be patched directly to channels from built-in or expansion slot I/O, or from external I/O boxes connected via the optional Hydra2 module, Hydra patchbay outputs or directly from Brio’s own output buses. Any signal present at an input port must be connected to a channel path before it can be processed and routed.

FIGURE 1 - INPUT SIGNAL FLOW – MONO CHANNEL

30 BRIO 36 Audio Production System with Optional Networking SYSTEM OVERVIEW

FIGURE 2 - INPUT SIGNAL FLOW – STEREO CHANNEL

External Inputs

• External inputs take signals into Brio 36 from it’s own Input ports, other I/O box input ports, Hydra patchbay outputs

or Brio’s own output ports, and make them available for monitoring and metering.

External Tone Input

• Patching a third party tone generator to the external tone input allows the external tone to be used as the tone source

across the console, rather than the internal oscillator.

Talkback Input

• Patching to the talkback input allows any microphone connected to any of its own Input ports or other I/O box input

ports to be used as the talkback source. The built-in talkback microphone connects to Brio’s internal I/O and may then patched to the talkback input in order to be used.

Buses

Groups

• Multiple channel Inputs can be sub-mixed by routing them to groups.

• Groups can be processed.

• Groups can be routed to any other output or bus.

• Groups are not available for patching, but can have direct outputs and mix-minus outputs made available to them.

AFL

• When paths are AFL’d the console monitor feed is replaced by the AFL bus, providing a non-destructive solo.

• The after fader level signals from multiple paths can be sub-mixed by routing them to the AFL bus.

PFL

• When paths are PFL’d the PFL bus outputs a pre-fader version of the incoming signal and is used to check the

presence of the incoming signal prior to opening the fader.

• Pre fader level signals from multiple paths can be sub-mixed together by routing them to the PFL bus.

• Settings are available to output the PFL bus to its own dedicated loudspeaker or the console monitors.

Output Listen

• The output listen bus uses the same bus as AFL although signals are routed post any output delay.

• Bus outputs including Mains, Auxes & Direct Outputs can have their post output delay listened to.

See “PFL, AFL AND OUTPUT LISTEN” on page 153 for more information.

Bus Outputs

Main Outputs

• Mains are primarily used to feed transmission and/or recording devices.

• Multiple paths can be routed to mains. Mains can be routed to other mains.

• Mains are available for patching and can have Equaliser, Dynamics and Delay processing applied.

Aux Outputs

• Multiple mixes can be created by routing paths to auxes.

• Each channel has individual send level and position controls for each of the 24 Aux outputs.

• Auxes can be used in conjunction with mix minus outputs to create Interruptable Foldback feeds (IFBs).

• Auxes can be controlled by logic functions to cut the pre fader send to each individual Aux, for controlling foldback feeds in on/off air situations.

• Auxes cannot be routed to any other bus/output.

• Auxes are available for patching and can have Equaliser, Dynamics and Delay processing applied.

Path Outputs

Mix Minus Outputs

• Each channel can have one mix minus output assigned to it, from a pool of 64 mono legs (shared with direct outputs), providing an easy way to create a mix for a contributor using any aux, or the dedicated auto minus bus. See “MIX MINUS” on page 167 for more information.

Direct Outputs

• Each channel can have one direct output assigned to it from a pool of 64 mono legs (shared with mix minus outputs) to make signals available for patching. Direct outputs can be pre EQ, pre fader or post fader.

Console Outputs

Monitor Outputs

• Each monitor output is available for patching to any I/O output port which can, in turn, be connected to a loudspeaker.

• Monitor source controls are available from the touch display footer when in ‘active Show’ view allowing you to quickly change monitor sources and the global user buttons can also be assigned as monitor source selectors.

• Brio 36 has several monitor outputs available. For more detailed information see “MONITOR CONTROLS” on page 150.

Meter Outputs

• In addition to the Console Monitor Prefade, PFL,AFL & APFL Meter outputs, there are four user meter outputs available for patching directly to I/O box output ports to feed external, third party meters.

32 BRIO 36 Audio Production System with Optional Networking SYSTEM OVERVIEW

Talkback Output

• The talkback output feed is provided to allow you to patch the talkback feed from the console operator to a specific location, e.g. a comms system.

Tone Output

• As well as being routed to paths, tone can be hard-patched to an I/O box or Hydra patchbay output using the tone output.

Inserts

• Inserts provide a quick way to insert third-party signal processing equipment into a path.

• Each Insert can be placed pre EQ, pre fader or post fader. When switched in, an insert breaks the signal path, providing a send out and a return back in, allowing devices like external effects processors to be placed within the signal flow of a path.

• Insert sends and returns appear in the I/O patching screen from where they can be patched to I/O box ports for connection to external devices.

• Inserts are available for faders, mains, groups and the console monitor.

• 2 fader inserts are available for each path. If the path is moved to a different fader, the insert will move along with it.

• Each insert has an individual ‘IN/OUT’ switch.

• Monitor inserts are used to insert processing into monitor feeds, such as surround processors and renderers.

See “INSERTS” on page 124 for more information.

FIGURE 3 - INSERTS—GENERAL OPERATION

FIGURE 4 -BRIO 36 AUDIO SCHEMATIC

34 BRIO 36 Audio Production System with Optional Networking SYSTEM OVERVIEW

HYDRA2 PATCHBAYS

Hydra2 patchbays (HPBs) allow console users to make selected DSP audio outputs available across the Hydra2 network, allowing other Hydra2 users to access them, as well as allowing console input sources and output feeds to be changed remotely. Hydra2 patchbays are created from the H2O user interface. See the H2O user guide for more information.

HPBs are virtual patchbays which exist within the Hydra2 domain. Like physical patchbays, HPBs have a number of input ports which are ‘hard wired’ to their corresponding output ports. For port patching purposes, Hydra2 patchbay inputs are destinations and Hydra2 patchbay outputs are sources.

When a source is patched to a Hydra2 patchbay input, it immediately becomes available at the corresponding Hydra2 patchbay output. For example, if a console user patches a direct output to a Hydra2 patchbay input, the direct output is available to all Hydra2 users (who have been granted access), in the form of the corresponding Hydra2 patchbay output.

Console Specific or Shared

There are two types of HPB: ‘console specific’ and ‘shared’. Console specific HPBs are available to H2O, 3rd party controllers (via SW-P-08) as well as the console that they have been created for. Shared HPBs are available to all Hydra2 users who have been granted access as well as H2O and 3rd party controllers (via SW-P-08). You can patch signals to your own, or shared Hydra2 patchbay inputs, in the same way as patching to physical output ports.

Remote Patching

HPBs allow network administrators (via H2O) to patch console inputs and outputs that have been patched to HPB ports to physical I/O ports. H2O users can choose physical input ports to connect to console HPB inputs, and physical output ports to connect to console HPB outputs, allowing them to choose and change console feeds and output destinations.

External routers, supporting the SW-P-08 protocol, can also access HPBs, enabling 3rd party control over console patching. Once created, HPBs can be made available for patching. They appear ‘online’ and can be added to the console’s ‘required list’. See “REQUIRED I/O BOXES” on page 52 for more information.

FIGURE 1 - HYDRA PATCHBAY OPERATION

Port Sharing

Source and destination protection works as normal when dealing with HPBs for both console and H2O users. In situations when two or more consoles are using the same feed from a HPB it is possible for one console to change the patching of the other by changing the I/O box port which is feeding the shared Hydra2 patchbay input, either through a memory load, or through changing the individual patch. In these circumstances it is important that you understand the contents of the source and destination protection pop-up before accepting any changes, as these changes directly affect other network users.

To create a fully flexible system, you can change the source feeding a HPB, which is also feeding other consoles. However, we advise that all I/O box port to Hydra2 patchbay input patching is controlled from H2O or a third party controller to avoid unwanted changes to other consoles’ source feeds.

FIGURE 2 - HYDRA PATCHBAY PATCH CHANGE

36 BRIO 36 Audio Production System with Optional Networking SYSTEM OVERVIEW

Unpatching

Under normal circumstances, when I/O box ports are unpatched, their input settings (Mic Gain, SRC, 48 V) are reset to their default values. However, when using HPBs, it is possible to un-patch a port at two points in the signal chain, as shown in Figure 3 below. If the port is first unpatched at point 2, the I/O box port’s input settings will be retained, even when the port is also unpatched at point 1.

FIGURE 3 - HYD R A PATCHBAY UN-PATC H

Hydra2 Patchbays at different sample rates

Note: now different sample rates are available, Hydra2 patchbays can be created to operate at a different sample rate (as shown in Figure 4) to that of the current show which is at 48kHz. HPBs and I/O Ports at a different sample rate to the console appear with a Sample Rate kHz warning icon to indicate it cannot be used unless the sample rate of the Hydra2 patchbay is changed in H2O or a different show is loaded into the console, using the correct sample rate.

FIGURE 4 - HYDRA PATCHBAY AT A DIFFERENT SAMPLE RATE

INTERFACING STYLES

Interfacing with Brio 36 is simple and the touch display will be familiar from using consumer technologies such as smartphones and tablet PCs.

Aspects of the interface will be referred to throughout this manual but this section should give you a good starting point from where you can start exploring Brio’s intuitive interface for yourself.

Physical Controls

Faders

• Faders are used to control signal levels, either by having paths attached for direct control or as VCA master faders for controlling the overall level of a range of paths.

Buttons

• All buttons on the Brio surface are labelled and LED back-lit to indicate their ‘on’ statuses. Buttons can either be momentary (they trigger the function until you release them), latching (switch on or off each time they are pressed) or auto (they latch if you tap them or act as momentary buttons if you hold them).

Rotary controls

• All physical rotary controls on the Brio surface are continuous—they have no stopping point at either extreme. This allows the surface to be fully flexible, as all physical controls are able to control a wide range of functions within one project.

• When a rotary control is attached to a function or parameter, the function name and options are displayed,either on the touch display, or in the smaller fader displays.

• Once a function’s extreme—either lower or higher—is reached its value will stop updating when the rotary is turned. When a rotary is controlling a level value or a value which has a default setting, press and hold the rotary control for a short time to return to the default value.

Touch Display

Brio’s touch display uses the same general interfacing styles as a smartphone or tablet computer. Below is a run down or the main gestures that you will use:

Tap

• Buttons, switches, selection fields and table column labels (for ordering purposes) can all be accessed with a short light tap.

Two Finger Tap

• Tapping with two fingers can reset settings to their default level. For example, within the fader processing tab, the fader can be set to zero by tapping on the fader space with two fingers.

Drag

• To turn a rotary control up or down, simply drag it vertically up/right to turn it up, or down/left to turn it down.

38 BRIO 36 Audio Production System with Optional Networking SYSTEM OVERVIEW

Touch and Drag

• To select more than one item in a table or list, touch your first selection, hold your finger in place for a short time then drag in any direction to extend your selection. Selections are always in order, usually numeric, so if you drag to the left or right in a vertically arranged grid, such as the external inputs screen, you will select all cells between your first and last selection. Touch and drag can also be used to move a selection around, for example in the fader layout screen, make a selection then hold and drag to move paths to a different set of faders.

Scrolling

• Whenever a screen is too large to be fully displayed on the touch display, drag the screen to scroll in any direction. Scrolling and ‘flinging’ will allow the screen to scroll quickly, then decelerate to a stop.

Drag Handles

• A multiple selection can be made by dragging the selection handles once an initial selection has been made, as shown in Figure 1.

FIGURE 1 - DRAG HANDLES TO SELECT MULTIPLE ITEMS

Buttons

Switches

Keyboard

• There are several Brio 36 functions which require the use of a Qwerty keyboard.

• Whenever the keyboard function is needed the software keyboard will appear from the bottom of the touch display.

• If there are several text fields to complete, NEXT and PREVIOUS buttons are provided to move between text fields in order, alternatively, just tap the text fields on the touch display to move between them.

• SAVE and CANCEL buttons are provided to exit the text input mode, either saving or discarding any changes.

Alternatively tap the touch display outside the text fields to exit.

• Standard CUT, COPY and PASTE functions are available using the keyboard.

• If preferred an external keyboard or keyboard/trackpad combo can be attached to one of Brio 36’s USB ports.

• When an external keyboard is connected the software keyboard does not appear.

LAYERS

The Brio 36 surface has two layers allowing fader-control of twice as many paths as there are faders on the surface. You can switch between layers using the fader layer selection buttons A or B on the surface. The A/B buttons switch layer globally across the whole console, or can be set to switch chosen banks of faders. The Fader Layer button in the footer also allows layer switching. Setting a bank to be “linked” in this menu sets them to follow the A/B hardware buttons on the surface.

Layer linking options are set from the Surface Layer pop-up which is accessible from the Monitor bar along the bottom of the Touch Display. This should be used along with Layer Switching Options which are located within Show settings.

As well as switching layer globally, or in banks, the layer can be toggled on individual faders by setting the S1 or S2 Strip User buttons to act as a B layer toggle switch.

When changing layer, all fader positions, button states and control cell states change immediately to reflect faders on the newly selected layer. Paths are active and can pass audio on both layers, regardless of whether they are currently in view

Layer Switching Options

To access layer switching options, tap SHOW SETTINGS in the Show menu and select ‘General’. One of these two options can be chosen:

• Change the layer of all linked fader sections

• Change only the layer of the fader section containing the Accessed fader (any linked fader sections will also change too)

The first option can be used if you wish to prevent a section of the desk from ever switching layers. For example, on a Brio linking sections 1 and 3 and selecting the first layer switching option means that all surface sections, other than section 2, will switch layers when surface layer buttons or pop-up layer buttons are pressed. Fader section 2 will stay on which ever layer you select for it within the Surface Layer pop-up.

The second layer switching option should be chosen if you always want the section containing the currently accessed fader to switch layers (along with any linked surface sections) regardless of whether you have set some fader sections to lock to a specific layer.

40 BRIO 36 Audio Production System with Optional Networking SYSTEM OVERVIEW

FIGURE 1 - LAYER SETTINGS

Surface Layer Pop-up

Each surface section is represented along the top of the pop-up. Link layer switches along the bottom of the pop-up can be set to ‘on’ or ‘off’ to enable or disable layer linking. Linked layers will always be on the same surface layer.

FIGURE 2 - SURFACE LAYER POP-UP

96KHZ OVERVIEW FOR BRIO 36

From version v1.1, Brio 36 can now also work at 96kHz sampling frequency (sample rate), over a Hydra2 Network.

The following list is a quick overview of the impact of running Brio36 consoles at 96kHz

• The consoles can switch between 48kHz & 96kHz working as required.

• Consoles switch sampling frequency by loading a show at the required sample rate built from a template at that rate.

• The numbers of channels and buses are the same on Brio 36 at 96kHz as at 48kHz, i.e. the same as before.

• There is no reduction in the numbers of monitor inputs and outputs at 96kHz.

• I/O boxes can be set to 48kHz or 96kHz, or to follow the sample rate of a specific console, via H2O.

• The Hydra2 network supports 48kHz and 96kHz consoles and I/O boxes simultaneously.

• Hydra2 runs at 48kHz irrespective of whether the consoles and I/O boxes are running at 96kHz or not. It simply uses 2 samples per 96kHz signal.

• Because Hydra2 always runs at 48kHz, the system will still require a 48kHz sync (if using its AES3 & Wordclock inputs) even if all consoles and I/O are at 96kHz.

• The console patching screens and required list indicate which ports, HPB, aliases, or boxes are at a different sample rate to the desk. These ports etc. can be patched (except for System level patches) but will not work until the sample rates are matched.

• The H2O patching screens filter the ports visible by sample rate, as it can make patches at either rate.

• Consoles cannot successfully make port to port patches (including via aliases) for I/O that is at a different sample rate to the desk. Note: these patches can be made in H2O and by SW-P-08 and will work if patched there.

• System Status messages are produced for I/O boxes & HPB that are in the required list but are not set to the same sample rate as the desk.

• An I/O box can run at 48kHz or 96kHz irrespective of which rack it is plugged into. If a console is running at 48kHz, an I/O box plugged into that rack could be running at 96kHz with another console.

• Fixed format 1U MADI boxes do not support 96kHz. They are shown offline when the box is at 96kHz.

• SDI de-embedder modules do not support 96kHz on the SDI stream. They are shown offline if the box is at 96kHz.

• SDI embedder modules do not support 96kHz on the SDI stream. They are shown offline if the box is at 96kHz.

42 BRIO 36 Audio Production System with Optional Networking

SYSTEM OVERVIEW

BRIO 36

SETTING UP

calrec.com

GENERAL

To access Brio 36’s general settings, from the ‘active Show’ view, tap SYSTEM SETTINGS in the top right of the screen and then select ‘General’’ from the menu on the left hand side. To edit these settings you must be logged in as an administrator.

General Settings

The following general settings are available:

• The analogue level at 0 dBFS can be calibrated to 15, 18, 20, 22, 24 or 28 dBu.

• The reference level (dBFS) can be set to an integer value between -6 and -32 dBFS. The reference level sets default level values for the dynamics and oscillator modules.

• The point at which the input impedance changes between mic and line level can be set to 18, 20, 22 or 24dBu.

• The mic input headroom for the system can be chosen. Options range from 20 dB to 36 dB.

• The default meter style can be set for all meters on the meter displays. PPM or VU scales can be chosen along with various colour split points, controlling the level ranges of the green, yellow and red elements of the meter bar graphs.

• Cut/On button functionality can be set: With cut selected, paths are cut when cut/on buttons are active; with on selected, paths are switched on when the cut/on buttons are active, and so paths are cut when cut/on buttons are not active.

• When faders are under CSCP control, this can be overridden when the fader is touched; Brio 36’s faders are touch sensitive. This feature can also be disabled.

FIGURE 1 - GENERAL SETTINGS

Surround Leg Suffixes

You can enter suffixes to be automatically displayed at the end of the individual legs of surround path port labels within the I/O patching screen. Suggested suffixes are L, R, C, LFE, Ls, Rs. These suffixes help to keep the surround legs together and in the correct order when sorting tables within the I/O patching screen.

Date and Time

The current date & time are displayed at the bottom of the General settings page and can be modified in Admin mode.

44 BRIO 36 Audio Production System with Optional Networking SETTING UP

ENERGY SAVER

Brightness

Brio 36’s energy saver settings allow you to control the brightness of all surface buttons and displays. There are three rotary controls to independently set the brightness of LED’s, small displays, and Touchscreen display. Adjust these rotary controls to see the relevant brightnesses change.

Surface Sleep

Putting Brio into surface sleep turns off all lights across the surface it has no effect on audio or operation. Surface sleep can be set to activate after a specified duration of inactivity, ranging from one minute, to an hour. Alternatively you can select NEVER.

FIGURE 1 - ENERGY SAVER SETTINGS

SYNCHRONISATION

General rules of good practise require that all equipment connected to the audio console’s digital inputs and outputs are locked to the same referenced sync source as the console to ensure clean audio.

In systems with multiple Calrec processing cores connected together, it is of paramount importance that all connected processing cores are locked to the same referenced sync source.

The Brio 36 processing engine has six synchronisation inputs and six levels of synchronisation source priority. The sixth priority is always set to ‘internal reference’, so that, as a last resort, if all other sync sources fail, Brio can always run off its own internal clock. If a clock source does fail, Brio will automatically jump down to the next sync source in the priority list. One is the highest priority, six is the lowest.

In ‘active Show’ view, the current sync source is always displayed within the notifications area at the top right of the touch display.

Setting Synchronisation Source Priorities:

• Tap SYSTEM SETTINGS in the top right of the touch display and select ‘synchronisation’ from the menu.

• Tap the selection cell for the sync priority level that you wish to alter. A pop-up appears with a scrolling menu of possible sync sources. (The following figure shows the pop-up when selecting sync source priority 1).

• Tap to make your selection, scrolling down if necessary.

• The pop-up closes and Brio refreshes and syncs to the highest priority viable source.

Synchronisation at different sample rates:

Hydra2 runs at 48kHz irrespective of whether the consoles and I/O boxes are running at 96kHz or not. It simply uses 2 samples per 96kHz signal.

Hydra2 always runs at 48kHz, the system will still require a 48kHz sync if using its AES3 or Wordclock inputs even, if all consoles and I/O are operating at 96kHz.

46 BRIO 36 Audio Production System with Optional Networking SET TING UP

FIGURE 1 - SYNCHRONISATION OPTIONS

Reset to First Source

It may sometimes be necessary to reset Brio’s synchronisation. To start the synchronisation reset process tap RESET TO 1ST SOURCE. Brio will attempt to synchronise to each source in priority order, starting at priority one. Once a viable synchronisation source is found the process will stop and the new sync source will display the ‘locked to’ tab as shown here.

It is important that the required sync source is available before the console boots up otherwise it won’t be locked to the correct sync, if this occurs press the ‘Reset to first’ button after the sync generator is running.

FIGURE 2 - RESET TO FIRST SOURCE

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Sources and Frame-Rates

Brio has 7 sync source options:

• Video 1

• Video 2

• AES3 1 (48 kHz)

• AES3 2 (48kHz)

• TTL Wordclock 1 (48 kHz)

• TTL Wordclock 2 (48kHz)

• Internal Reference

Brio supports the following video formats:

• PAL

• NTSC

• 720p/30

• 720p/29.97

• 720p/25

• 720p/24

• 720p/23.98

• 1080i/30

• 1080i/29.97

• 1080i/25

• 1080p/30

• 1080p/29.97

• 1080p/25

• 1080p/24

• 1080p/23.98

• 1080p/50

• 1080p/59.94

• 1080p/60

HYDRA2 CONFIGURATION

System ID Change

From version 1.1 Brio 36’s can be used as part of a Hydra2 Network and have access to the resources of that network.

In order to facilitate this the System ID has to be altered so that it is no longer set to 192.1 which is the default for a Standalone console as shown in Figure 1. In order to do this the user has to enter Administrator Mode. Note: a Brio cannot be the master of the network and requires a 4U or 8U core system to connect to which acts as the network master.

This is usually a separate core, but could equally be an Apollo, Artemis or Summa Console core. Figure 2 shows the Brio now set to a new System ID of 192.150, it has been connected to a master core and now the Brio appears as a Networked Console. Note: it’s AutoPromote value has been increased to 70 seconds to cope with any reset of the master core before AutoPromote takes effect otherwise the Brio might self promote when it needs to stay on the network.

FIGURE 1 - SYSTEM ID STANDALONE

FIGURE 2 - SYSTEM ID NETWORKED

50 BRIO 36 Audio Production System with Optional Networking SETTING UP

H2O Change

In addition to changing the Brio’s System ID, the Brio needs to be added as a Client on the Hydra2 network . This needs to be setup in H2O as shown in Figure 3, before it can be seen as part of a Hydra2 Network and have access to Hydra2 I/O resources.

FIGURE 3 - BRIO ADDED AS CLIENT IN A MASTER CORE VIA H2O

Auto Promote

A Hydra2 network needs one master router to function correctly. If anything causes the master router to go off-line, another router on the network must be promoted to be the master to keep the system running. Auto Promote allows this to happen automatically. To avoid losing valuable data the Hydra database is copied from the master router to any routers in the network which may auto promote themselves. The Hydra database stores the following information:

Details of I/O connected on network. Patches made via H2O. Patches made via SW-P-08. Port labels.

A system of levels and time delays is used to control which routers can take over the master router status and in which order. Auto Promote is setup by Calrec engineers and so should be planned with your Calrec project engineer during the ordering process.

REQUIRED I/O BOXES

BRIO 36 has its own built-in I/O but this and all other I/O resources on a Hydra2 network can be used by all consoles as long as they have been granted access from the network administration tool, H2O, and the resources have been added to the consoles ‘required list’.

If connected to a network, and due to the scalable nature of Hydra2 the user may have access to a large amount of I/O resources, some of which they won’t always need. The ‘required list’ provides a way to narrow the scope for individual consoles, speeding up work-flow and making port identification easier.

Only I/O resources in the ‘required list’ will be available for patching to and from the console. If not connected to the network only the Built-in I/O box will be shown in the required list. Brio’s internal I/O is identifiable as a console image. The ID for internal I/O is automatically generated, based on the consoles ID in order to prevent conflict with other I/O on the network

Viewing Resources

Tap SYSTEM SETTINGS in the top right of the touch display, then select ‘Required I/O Boxes’. The user will see a split screen with all online resources on the left and the ‘required list’ on the right.

Both lists are held in tables with 3 columns: Hardware ID, label and type. It may help to sort these tables by tapping on column headers. Multiple taps will switch sorting to be either ascending or descending.

Hardware IDs for physical I/O boxes are set from the dip switches on the back of the units (See “Audio I/O Connections” in the Installation manual for more information). Hydra patchbay IDs are taken from H2O and are related to folder names. Labels are explained in detail, here: ”INPUT AND OUTPUT PATCHING” on page 74.

FIGURE 1 - ACCESSING SYSTEM SETTINGS

52 BRIO 36 Audio Production System with Optional Networking SETTING UP

Tap to select a single online resource on the left (hold and drag or drag handles to select multiple resources) then tap ADD TO REQUIRED LIST at the bottom left of the online resources screen. The resources will then appear in the Required List on the right. Note: they are shaded green, with a green ‘required’ tag attached.

This is mirrored in the online list on the left so the user can quickly see which resources they have already added. If any of the resources in the Required List go offline, they will be shaded red with an ‘offline’ tag attached.

The ‘require’ tag can be seen in the image below.

Adding and Removing Resources

To remove a resource from the list, select it, then tap REMOVE FROM REQUIRED LIST. Note: the built-in Brio I/O is always present and is shown in Figure 2 at the top of the list.

Boxes at Different Sample Rates

The show in Figure 2 is a 96kHz show, the sample rate field shows that although the Brio is set to the correct sample rate the AoIP box isn’t, this is because AoIP boxes do not currently operate at 96kHz

FIGURE 2 - THE ‘REQUIRED LIST’

SHOWS

Brio 36 uses a system of Shows, user memories and continuous memory to store settings for later recall. Shows are used to organise user memories into sub-categories making them easier to manage, rather than having to search through a long list of varied memories each time, you can select a Show and view the user memories associated with that Show.

A possible use for this would be to create Shows for each type of production, e.g. ‘Morning News’, ‘Football’, ‘Chat Show’ etc.. and then create multiple user memories within each Show for different users and situations. Before saving multiple memories into a Show, it is good practice to create one default user memory, test it, and use it as a template to create multiple user memories. This avoids the repetitive and time consuming task of having to make the same changes to multiple memories.

During operation, Brio constantly updates its continuous memory, which is also saved within the currently active Show and that the user is actually saving memories within shows. When a Show is recalled, it is this continuous memory that is recalled, not a user memory.

Note: loading a Show recalls the last-used settings, not the last-saved settings. So in order to get to a particular user memory this will need to be loaded once the show is loaded.

FIGURE 1 - SHOWS AND MEMORIES

54 BRIO 36 Audio Production System with Optional Networking SET TING UP

FIGURE 2 - WHERE THINGS ARE SAVED

Show

User Memory

Memory

Output bus configuration X X

Path to fader assignments X X

I/O patchi ng (from Summa) X X

Inp ut settings X X

Path routing X X

Path processing X X

Active downmix se ttings X X

Layer locks X X

VC A grouping X X

User labels X X

Required list X

Continuous

GPI and GPO X

Monitor, talkb ack, meter patching X

Synchronisation settings X

Default downmix values X

Energy saver settings X

External contro l enable X

Inserts setup X

External inputs X

General System Settings X

Active control mode X X

Active fader layer X X

Monitor settings X X

Memory isolates X X

Oscil lator settings X X

Talkback levels X X

Entering the Shows List

Tap SHOWS LIST to the top left of the touch display. All available Shows are presented within a sortable table. To return to ‘active Show’ view, tap ACTIVE SHOW in the top right of the touch display.

FIGURE 3 - ACCESSING THE SHOWS LIST

Active Show

The Show that is currently active is identified by the ‘active’ tab. See Figure 4 on the next page.

Loading a Show

Locate and select the Show, then tap LOAD in the control screen footer, then LOAD again to confirm the choice.

Setting up a New Show

All new Shows are based on pre-configured Show templates. To set up a new Show:

1. Tap NEW in the control screen footer.

2. Pick a template within the ‘new Show’ pop-up.

3. Enter a label and some details for the Show and tap CREATE SHOW.

The client and series text fields will already be populated as they are taken from the template.

Deleting a Show

1. Tap to select one or more Shows within the list.

2. Tap DELETE in the control screen footer.

3. Tap DELETE SELECTED, or CANCEL.

56 BRIO 36 Audio Production System with Optional Networking SETTING UP

FIGURE 4 - THE SHOWS LIST

Shows List for Different Sample Rates

The Shows List in Figure 4, is displaying a variety of shows including the 4 default shows at 44.1kHz, 48kHz, 88.2 kHz and 96kHz. These shows were subsequently used to provide a show template for each operating frequency..

Note: there are 2 separate processes required for a show, loading a show sets up the DSP resources to run at the required sampling rate is one. The other is to set the sampling frequency of each I/O box and Hydra Patchbay in H2O. See “I/O Boxes & Hydra Patchbays Sample Rate Selection in H2O” on page 73.

Editing a Show

Once a Show has been created it is possible to edit its label and description:

1. Select the Show to edit and tap EDIT in the control screen footer.

2. Make changes to the label and description in the pop-up.

3. Tap SAVE or CANCEL .

Duplicating a Show

Duplicating Shows can save time when several very similar Shows are needed:

1. Select a Show and tap DUPLICATE in control screen footer.

2. Enter a new label.

3. Tap DUPLICATE or CANCEL.

Moving Shows between Systems

Shows can be transferred between Brio 36s but cannot be transferred to Apollo, Artemis or Summa consoles.

Show Templates—Admin Only

Whenever the user creates a new Show it must be based on a template. The generic Calrec template is always available. Additional templates can be created by Brio 36 administrators. Show templates hold the same data as Shows but they cannot be opened, edited or deleted without logging in as an administrator.

Setting Up and Editing Templates—Admin Only

Enter the shows list screen and tap SHOW TEMPLATES to the left of the screen header. The user is required to enter the admin username and password for the system, then tap LOG IN and the user will have access to the available Show templates.

From here the user can create a new template by tapping NEW and entering client, series and label information. They can delete a template (other than the Calrec default template) by selecting it and tapping DELETE . They can edit a template’s details by selecting it and tapping EDIT .

Updating Templates—Admin Only

The user can update Show templates to reflect the current System Settings by tapping UPDATE. The user will then be asked to confirm or cancel the update.

Backing Up Shows

Shows & their user memories can be backed up to a USB drive connected to Brio 36’s USB ports. To back up a Show:

1. Select the Show to backup from the Shows list.

2. Tap BACKUP toward the bottom right of the display. To select multiple Shows, select them all now.

3. Tap SELECT BACKUP LOCATION and select a destination for back up, making a new folder if necessary.

4. Tap BACKUP HERE or CANCEL. If there is a previously saved version of the same Show a pop-up will appear to ask if the user wants to OVERWRITE the show or CANCEL the backup.

FIGURE 5 - BACKING UP SHOWS

58 BRIO 36 Audio Production System with Optional Networking SETTING UP

Restoring Shows

1. Tap RESTORE in the footer of the Shows List and navigate to select the Show to restore.

2. Tap RESTORE.

Settings Stored within Shows

Tap Show Settings within the Show menu on Brio 36’s touch display and the user will see four options: General, Delay Controls, Downmix and External Inputs. General Settings:

• Access Follows Link defaults to on, but when turned off allows the access path to stay where it is when creating a link

using the Access buttons.

• For AutoFaders touching a fader whilst fading has two options, by default the Fader adjusts the fade-in level or

alternatively it overrides AutoFader Control.

• By default, a notch can be felt at the ‘0’ point on the fader scale. This can be switched off if required.

• The surface layer buttons can be set to operate in one of two ways. They either change all linked fader sections or

only the sections which contains the accessed fader, plus any sections which are linked to that section.

• By default, PFL can be activated momentarily by pulling the fader down below its lowest point, and deactivated once

released. This feature can be switched off for the whole surface.

• By default, if a fader is closed and it’s PFL is activated, it will be automatically deactivated once the fader is opened.

This feature can be switched off for the whole surface. (See ”PFL, AFL AND OUTPUT LISTEN” on page 153 .

• VCA groups are generally made and dissolved by pressing fader access buttons but this process can be disabled to

protect all VCA assignments or to stop VCA groups being made accidentally.

• By default, VCA slave faders move automatically when their levels are changed by their masters. If you would rather,

this functionality can be switched off and instead slaves will remain stationary. Combined master/slave levels will still be indicated by the nulling indicators in the fader displays. (See ”VCA GROUPS” on page 127)

Other settings are explained in the relevant sections: “DELAY” on page 122, ”DOWNMIXING” on page 180 and

”EXTERNAL INPUTS” on page 89.

FIGURE 6 - SHOW SETTINGS

MEMORIES

User memories are files which store processing, routing and patching information which can be recalled at any time.

Loading a User Memory

1. Tap MEMORIES in the Show menu and a list of all user memories will appear that are available within the current Show.

2. Tap to select the user memory that to use and tap LOAD .

3. The footer changes to ask for confirmation, tap LOAD SELECTED or CANCEL.

Creating a new User Memory

To create a new user memory with current surface settings:

1. Tap NEW in the memories screen footer.

2. Enter a name and a short description for the new user memory.

3. Tap CREATE or CANCEL .

Updating a User Memory

To update a previously saved user memory with the current surface settings:

1. Select the user memory to update and tap UPDATE in the memories screen footer.

2. The user will be prompted to confirm by tapping either UPDATE SELECTED, or CANCEL.

FIGURE 1 - MEMORY PAGE

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Creating Multiple User Memories

Best practice is to create one ‘default’ user memory, test it, make any necessary changes, and then use this as the basis for all other user memories within the Show. This speeds up the process by reducing the need to make the same changes to many different user memories.

To do this, create, test and update what is to be the ‘default’ user memory as described above, then, with the this user memory still loaded on the surface, tap NEW, and the information will be saved into a new user memory, effectively duplicating it.

Storage Capacity

There is a capacity indicator at the top of the memories screen which shows how much storage space is available. If more space is required, delete any old Shows and user memories which are no longer needed. The capacity indicator shows the amount of space available on the controller card for storing Shows and Memories, however, the controller card memory is also used for other files and folders and so the capacity may vary.

FIGURE 2 - MEMORY CAPACITY

Memory Isolation

Memory Isolation is a system whereby paths or individual path parameters can be protected from being updated when a user memory is loaded. When in ‘active Show’ view, memory isolation options are available per-path from the ISO drop-down menu in the right hand side of the access bar: use the drop-down menu to select which parameters to isolate for the currently accessed path. ISOLATE ALL or ISOLATE NONE options are also available. Isolate can also be assigned as a function to be switched by the S1 or S2 Strip User Buttons on the surface

Note: Paths that have been isolated from memory loads can be moved around the surface.

FIGURE 3 - LOCATION OF ISOLATION CONTROLS

The Isolation status of each path is indicated on its fader display—a blue ISO icon indicates a fully isolated path and a green ISO icon indicates partial isolation is in operation for that path.

FIGURE 4 - ISO ICONS

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The following settings can be isolated:

• Input 1 ports

• Input 1 parameters

• Input 2 ports

• Input 2 parameters

• EQ Settings

• Expander /Gate /Ducker + Compressor 1

• Compressor 2

• Insert

• Fader position

• The VCA master status of the fader

• The VCA slave status of the fader

• Downmix settings

• Path width settings

• Main/Group routing

• Main/Group pan

• Aux routing sends and pan

• Auto Minus routing

• Direct Output parameters

• Direct Output ports

• Mix Minus Output parameters

• Mix Minus Output ports

• Path delay

GLOBAL USER BUTTONS

The 12 Global User Buttons in Brio 36’s touchscreen section each have RGB LED indicators in them. They can be assigned to directly control a range of functions through the touchscreen UI.

FIGURE 1 - GLOBAL USER BUTTONS

These buttons can be set up to change General Functions such as clearing Tone or Talkback or APFL, change monitor source sources including External Inputs, change Console and Studio Monitor functions, select Talkback destinations, Control Group and Aux Cuts that are not on the surface, start and stop loudness meters, bypass AutoMixers, select contribution buses and interact with the On-Air protection system. If switching a console function, that function’s state lights the button. If no console function being controlled, the buttons can be lit by GPI tally as described below.

Global User buttons controlling any of these functions can also be connected to GPOs to simultaneously trigger external equipment. For example a Global User button that is set up to switch a monitor source, could also connect to a GPO to trigger a vision switcher to switch to an appropriate video feed. The indicators within the Global User buttons can be used as Tallies to indicate that a corresponding GPI has been activated.

This can also be used as a method for checking the correct operation of a GPIO circuit. In addition they can be used to change the functions of the Strip Rotary Mode and the S1 and S2 Strip User Button Modes.

FIGURE 2 - GLOBAL USER BUTTONS SET UP

Global User Buttons are setup by dragging and dropping the function onto the required button. Note: at the bottom of the page there are links to GPI and GPO patching, GPIs can be connected to the Global User Button indicators to show that a particular GPI has been activated and GPOs can be triggered from the Global User Button switches to control external or internal functions. Buttons default to lighting red for the on state, regardless of function. The colour can be changed, and a colour for the off-state selected by tapping the button in the touch UI .

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CUSTOM STRIP CONFIGURATION

Each Fader strip has a Rotary control and 2 Strip User Buttons each of which have RGB LED indicators in them. They can be assigned to directly control a range of functions console wide, using the button in the left side of the touch UI’s footer. The ‘Custom’ option allocates functions defined by the Custom Strip Configuration screen which allows for different functions on each strip as well as connecting with GPIO.

FIGURE 1 - FADER STRIP ROTARIES & USER BUTTONS

To create or change a Custom Strip Configuration, select the desired fader/s on screen, then choose to apply functions using the Rotary, S1 or S2 buttons below.

GPIO can be assigned to the buttons as well as console functions. If a console function is assigned, the state of that function will determine whether the button is lit. If no console function being controlled, the button can be lit by GPI tally, and the illumination colour for both on and off state can be chosen. GPIO is connected to buttons via triggers. Select a GPIO trigger to work with the S1 or S2 buttons from the footer. Go to the GPI and GPO patching screens in System Settings to connect the specific GPI and or GPO to the user button triggers.

A separate Custom Strip Configuration is available to each user memory. The custom configuration is only active on the surface when Custom is selected from the button in the bottom left of the UI footer. Users can choose to apply the custom configuration to the rotary and/or each of the buttons independently.

FIGURE 2 - CUSTOM STRIP CONFIGURATION-ROTARY FUNCTIONS

FIGURE 3 - CUSTOM STRIP CONFIGURATION-S1 AND S2 USER BUTTON FUNCTIONS

FIGURE 4 - CUSTOM STRIP CONFIGURATION-S1 AND S2 USER BUTTON GPIO

Custom Strip Functions / Console Wide Functions Selection

Each rotary, S1 & S2 buttons “Custom” function is stored separately so that after selecting any other console wide function from the Strip User Controls pop-up menu (shown in the bottom left of the UI footer), the individual “Custom” function can be returned to by reselecting “Custom” from the Strip User Controls pop-up. See “Providing Console Wide Strip User Controls” on page 81 .

66 BRIO 36 Audio Production System with Optional Networking

SETTING UP

BRIO 36

GETTING SIGNALS IN AND OUT

calrec.com

FADER LAYOUT

The first stage of passing audio into the Brio 36 system is to attach a channel to a fader. Audio feeds to input ports must then be attached to channels in order to be processed and routed; channels must be attached to faders to exist. Faders can be used to control input channels, mains, groups and aux outputs.

Tap FADER LAYOUT in the Show menu. The user will see a visual representation of all faders on both layers.

Figure 1 shows examples of all path types as viewed in the fader layout screen.

FIGURE 1 - THE FADER LAYOUT SCREEN

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Attaching a Path to a Fader

To attach a path to a single fader:

1. Tap an empty fader space to select it.

2. Tap NEW in the control screen footer.

3. A pop-up opens to show all path options, ranging from different widths of channel to mains, groups and auxes. Tap to select the desired width/type and the pop-up closes, or tap CANCEL to return to the fader layout screen without making any changes.

To attach paths to multiple faders:

1. Either hold and drag or tap and drag selection handles to select the desired range of faders.

2. Tap NEW and select a path/width choice from the pop-up. All selected faders will then be populated with the chosen path type/width. If a main, group, aux is chosen, the selected faders will be populated with buses in consecutive order. For example, if the user selects four faders, and then choose aux master 4, the faders will be populated with aux masters 4, 5, 6 and 7.

FIGURE 2 - FADER LAYOUT — NEW PATH POP-UP

Note: when viewing the access screen, if a fader with no path allocated is accessed, the screen provides a short cut to assign a path and will work in conjunction with linked faders to allocate multiple path at a time.

Settings

Tap SETTINGS in the bottom right of the fader layout screen and a pop-up appears containing settings for controlling how information is displayed. The top half allows the user to set how fader/port labels are displayed. Tap to select which of the three label types the user would prefer to view. The choice of label type will then be displayed if possible, if not, the next type in the priority order will be displayed, and so on.

The bottom half of the pop-up, ‘surface interaction’, provides a check box option:

• SCREEN SELECTION FOLLOWS FADER ACCESS allows the screen to scroll to bring the currently accessed fader into focus.

FIGURE 3 - FADER LAYOUT SETTINGS

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Editing Labels

To edit a user label:

1. Select one or more faders and tap USER LABEL . The footer changes to display a text entry field and four buttons, PREVIOUS, NEXT , DONE, CANCEL .

2. Enter fader labels using either the software keyboard or an external keyboard connected via one of the two surface USB ports.

3. Scroll through the fader label fields by tapping them, or by tapping PREVIOUS and NEXT .

4. Once happy with the changes, tap DONE .

Port Labels

User Label:

A label given to a fader or bus from the Brio 36 interface, if labelling a channel, it just labels that fader, if labelling a bus, that label is applied everywhere you see the same bus. This is only viewable on the console that it was made on.

Port User Label:

A label given to a port by the network administrator via H2O. This label is viewable across the Hydra2 network.

System Label:

A port label generated within an I/O box and viewable across the Hydra2 network.

Cloning Paths

To clone a path:

1. Select one or more faders, at least one of which must have a path attached.

2. Tap CLONE in the control screen footer.

3. Tap the fader(s) that are required to clone the selected path(s).

4. Tap CLONE again to confirm the choice.

As the user taps possible destinations, previews of the potential placements appear to help with their decision. A colour indication system is used to indicate the possible outcome of their choice: green when the destination is empty, orange when a path other than a channel is assigned to the fader, and red when a channel path is assigned to the fader. Red is used to indicate channel paths because if a channel is removed from a fader it no longer exists.

Once the user has selected the destination they are presented with two options, CANCEL or CLONE & OVERWRITE which replaces the destination path with a clone of the original selection and removes the original path(s) from the surface. As channels don’t exist once they are removed from faders, a pop-up appears if an attempt to overwrite a channel occurs, requiring a confirmation of choice.

Moving Paths to Different Faders

1. Select one or more faders, at least one of which must contain a path.

2. Tap MOVE in the control screen footer and tap the fader that is to be used to move the selected paths to.

3. Tap MOVE again to confirm choice.

Alternatively, once the chosen faders are selected, touch and hold again to make the selection float over the fader layout screen. From here drag the selection across the screen to the desired location. As the user taps or drags across possible destinations, previews of new path placements appear to help with their decision. The colour indication system described above is used.

Once the user has selected the destination they are presented with three options: CANCEL; SWAP—swaps the original paths with those on the chosen destination faders; OVERWRITE —replaces the destination path with the original selection and removes the destination paths from the surface. As channels don’t exist once they are removed from a fader a pop-up appears if an attempt to overwrite a channel occurs requiring a confirmation of choice.

Deleting Paths from Faders

To remove a path from a fader:

1. Select one or more faders, at least one of which must have a path attached.

2. Tap DELETE in the screen footer.

As channel paths don’t exist once they are removed from faders, if the user attempts to delete a channel, a pop-up appears showing the paths that will be deleted, requiring a confirmation of selection.

Lock a Fader to the Surface

Layer lock allows the user to ensure some faders are always present on the surface, regardless of which layer is selected.

1. Select one or more faders (with or without paths attached).

2. Tap LOCK in the screen footer.

The selected faders are then locked to the surface and will remain there regardless of layer selection.

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I/O BOXES & HYDRA PATCHBAYS SAMPLE RATE SELECTION IN H2O

From Version 1.1 Brio36 Consoles can now work at 96kHz sampling frequency (sample rate).

There are 2 elements to 96kHz operation of Brio36 consoles:- Configuring the DSP and configuring the I/O to run at different sample rates.

Consoles at 96kHz

The consoles can switch between 48kHz & 96kHz working as required and they switch their sampling frequency by loading a show at the required sample rate built from a template at that rate. For Brio, the numbers of channels and buses are the same at 96kHz as they are at 48kHz. There is no reduction in the numbers of monitor inputs & outputs at 96kHz.

I/O and Hydra2 Patchbays at 96kHz

Before the I/O can be used with a 96kHz console its sample rate has to be changed to match. In H2O a new button labelled “Sample Rate” is made available, selecting this opens the list of I/O boxes connected to the Hydra2 Network.

The list shown in Figure 1 shows the sample rate set for each I/O box or Hydra2 Patchbay. In order to change the sample rate the user first selects the required I/O box or Hydra2 Patchbay box, this enables the Set Sample Rate button at the bottom left of the screen.

Clicking on this opens the ‘Set Sample Rate’ pop-up, allowing the I/O boxes and Hydra2 Patchbays to be set to 48kHz or 96kHz, or to follow the sample rate of a specific console. This is shown in Figure 2, please note that certain older I/O boxes cannot be set to run at 96kHz such as the fixed format MADI box.

FIG 1 - I/O BOXES & HYDRA2 PATCHBAYS SAMPLE RATE SCREEN IN H2O

FIG 2 -SET SAMPLE RATE POP-UP SCREEN IN H2O

The Hydra2 network supports 48kHz and 96kHz consoles and I/O boxes simultaneously, it achieves this by running at 48kHz irrespective of whether the Consoles and I/O boxes are running at 96kHz or not.

It simply uses 2 samples per 96kHz signal.

INPUT AND OUTPUT PATCHING

Brio 36 desk inputs and outputs can be patched to physical I/O ports or virtual Hydra patchbay ports, or to each other. To enter the I/O patching screen, tap ‘I/O patching’ in the Show menu.

Patches are made between sources and destinations.

• A source can be an I/O input port, Hydra patchbay output, or console DSP output from the local Brio console.

• A destination can be an I/O output port, Hydra patchbay input, or console DSP input from the local Brio console.

Each source can be patched to multiple destinations but a destination can only have one source. When patching an input port to multiple input channels it is important to remember that phantom power (48 V), input gain and sample rate conversion are all set within the Hydra2 domain and so altering these controls from any point on the surface will affect that feed for every instance of it across the surface and across the Hydra2 network.

The I/O Patching Screen

The I/O patching screen is split into two halves, sources are displayed on the left and destinations on the right. Each side has a series of buttons running along the top for you to select which source/destination type you wish to access.

Selecting Sources and Destinations

Tap a source or destination selection button and a pop-up reveals all available options of that type, either as a set of buttons, or, in the case of I/O boxes, within a sortable table. Tapping to select one of these options, i.e. ‘Aux Outputs’, populates the source/destination screen with the associated ports.

FIGURE 1 - I/O PATCHING SCREEN—SELECTING A PORT TYPE

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Understanding Ports

Figure 2 shows how different port types are displayed within the I/O patching screen.

FIGURE 2 - PORT TYPES AS VIEWED IN THE IO PATCHING SCREEN

Port groupings are always displayed within sortable tables under the following headings:

Numbers

The port number is a combination of the I/O box hardware ID (HID) and the port number within the box—See H2O user guide for more detailed information. This is the port’s native label and is generated directly from the I/O box itself.

Port labels

The port label can be either the port user label or the system label. See the port labels information box on this page for more information.

Description

The network administrator can include a brief description of a port, if so, this will be included in the I/O patching screen table. The description cells can be changed to display the connected source/destination if preferred.

Connected Source/Destination

The label of the source/destination that is connected to the port is displayed.

Icons

The following icons can be displayed in the I/O patching screen:

This symbol will be displayed if you have been denied access to the port via H2O by the network administrator.

Whenever a port goes offline this icon is displayed.

Whenever a box or port is set to a different sampling frequency to the console.

If a port has been patched to/from by another Hydra2 user this icon is displayed.

If a port has been patched to/from via H2O this icon will be displayed.

If a port has been patched via a 3rd party controller this icon will be displayed.

Within the I/O patching screen, sources and destinations have separate settings, which are accessible from the left and right of the control screen footer. The available settings vary depending on which port type is in view:

Channel Settings

If channel inputs are in view, the user can globally switch between viewing input 1 or input 2.

Layer View

When viewing fader specific paths, such as channel inputs or fader inserts, layer view options will be available. Select layers A or B to view only faders on that layer.

Surface Interaction

When viewing fader specific paths, such as channel inputs or fader inserts, surface interaction options are available. Checking the FADER SELECTION FOLLOWS FADER ACCESS check box brings the currently accessed fader directly into view within the I/O patching screen at all times.

Connected Destination

The user can view connected destinations from sources and view connected sources from destinations. Both are displayed within the centre columns with this option selected.

Information Display

When viewing Hydra patchbays or I/O boxes, the information display split-selection button is available to choose between viewing path descriptions or connected source/destinations within the two centre columns of the screen.

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FIGURE 3 - SETTINGS POP-UP

Viewing and Sorting

Ports are displayed within sortable tables. The sorting options vary between port types:

• Fixed format and modular I/O boxes can be sorted by number (native label), port label or description (if available). To keep I/O boxes together in the viewing table, sort by ‘number’ as this includes the box’s HID which will be the same for all ports in that I/O box.

• Hydra patchbays can be sorted by patchbay name or patch-point number.

• Desk connections can only be sorted by resource number, e.g. Main 1 to 4.

In order to keep the individual legs of a 5.1 path together within the display the user can add a suffix to each leg, for example L, R, C LFE, Ls, Rs. See “GENERAL” on page 44 for more information.

Making a Patch

To patch a source to a destination:

1. Select a source type from the source screen header.

2. Select a destination type from the destination screen header.

3. Tap to select a source.

4. Tap to select a destination.

5. Tap CONNECT.

Moving a Destination

Once a patch has been made, the destination can easily be changed:

1. Select a destination.

2. Tap MOVE in the screen footer.

3. Select an alternative destination, (at this point you can select a new destination type).

4. Tap MOVE once more.

Protect a Patch from Memory Loads

Patches can be ‘fixed’, isolating them from memory load changes. Fixed patches are also protected under the port protection system in the same way as ports which are in use by multiple Hydra2 network users (See ”SOURCE AND DESTINATION PROTECTION” on page 86).

To Fix a patch:

1. Select one or more patched destinations.

2. Tap FIX in the screen footer.

3. To un-fix the patch, tap FIX again.

Isolating a Patch

Isolating a patch protects it from changes due to memory loads, but it differs from patch fixing in that patch isolation only relates to actions performed on the local Brio 36 console. Isolated patches can still be over-patched by other Hydra2 users and by memory loads on other consoles on the network.

To isolate a patch:

1. Select one or more patched destinations.

2. Tap ISO in the screen footer.

3. To de-isolate the patch, tap ISO again.

Removing a Patch

To remove a patch from the system:

1. Select either the source or destination (or one of the destinations if the source is patched to more than one).

2. Tap REMOVE in the screen footer. The patch is automatically removed, unless it is ‘fixed’ on the surface or was made by another Hydra2 user, in which case a pop-up appears requiring confirmation of the removal.

Inputs 1 and 2

Every Brio 36 channel has two inputs, 1 and 2, to which two entirely separate feeds can be patched. Input 2 is generally used for patching a back-up microphone so that if the feed to input 1 fails, you can quickly switch to use input 2, which has exactly the same processing, routing and output patching applied to it as input 1.

Patching Outputs to Inputs

Desk outputs and buses can be connected directly back into channel inputs. This method of control is different to just attaching a console output to a fader. From the I/O patching screen select DESK OUTPUTS in the sources screen and DESK INPUTS in the destinations screen and patch as normal.

78 BRIO 36 Audio Production System with Optional Networking GETTING SIGNALS IN AND OUT

INPUT CONTROLS

The input controls screen is split into three sections, the header contains general controls, the physical I/O box port controls are on the left and Brio 36’s input channel controls are on the right. With the touch display in ‘active Show’ view, tap the input processing tab to view all input controls for the currently accessed channel or group.

Depending on the type of input port that is connected to a channel, the user will see some or all of the controls described here. In the control screen header the Input 1/Input 2 toggle button allows the user to switch between two entirely separate I/O box input ports which may be patched to the currently accessed path. The tone switch toggles tone on and off to the channel.

I/O Box Input Port

Controls and information fields on the left of the Input screen relate to the physical I/O box input port; at the top, the port’s native/user label is displayed. The rotary control and switches control mic/line gain and phantom power settings for the connected physical input port.

If the port is shared with other Hydra2 network users this will be indicated, as shown in the image below, with a padlock icon along with a list of all network users who are sharing the port. The altering shared port controls, see

“SOURCE AND DESTINATION PROTECTION” on page 86 for more information.

ENABLE TEMPORARY CONTROL button is used when

The Channel Input

The channel input controls on the right of the screen control the DSP settings within the Brio 36 processing core for the currently accessed path:

• Input Trim increases or reduces the level of the incoming signal between -24 dB and +24 dB.

• There are polarity invert switches for each leg of the path.

• If a stereo path is accessed, a middle and side (M/S) decoder will be available. Switching this on automatically treats the incoming stereo signal as a middle and side microphone array.

• Input balance allows alteration of the weighting of the stereo signal between the left and right legs of the path.

• Path leg routing options L TO LR and R TO LR allow the user to route the left or right legs to both sides of a stereo channel. With both switches in the off position the left signal feeds the left leg and the right signal feeds the right leg of the stereo path, this is a ‘normal’ stereo setup. Switching L TO LR to the on position feeds the left signal to both left and right sides of the stereo path, and switching on R TO LR feeds the right portion of the signal to both left and right sides of the stereo path. Switching both switches on sums the left and right portions of the signal together and outputs this on both the left and right legs. With both switches in the same position, either on or off, you have access to the input balance control. When they are both off the balance control responds as described above but with both controls switched on the it is a full range balance control, i.e. turning the dial all the way to the left just outputs the 0 dB left hand signal from the left leg of the path. With either L TO LR or R TO LR switched on independently, the balance control is unavailable as it would have no effect as the left and right portions of the signal would be the same.

FIGURE 1 - INPUT CONTROLS

Mic/Gain

If the gain of any connected mic/line input is not the same on all legs of a stereo or surround channel, then the gain display will show the highest and lowest value for surround sources, left and right values for stereo sources , as shown in Figure 2.

FIGURE 2 -

MIC/GAI

80 BRIO 36 Audio Production System with Optional Networking GETTING SIGNALS IN AND OUT

Providing Console Wide Strip User Controls

Tap the Strip User Controls area on the bottom left of the touchscreen. This presents the user with a selection of controls that the Rotary Control, S1 and S2 buttons can be set to as a console wide function.

Setting the Rotary Function to Trim will change the Rotary control on all the fader strips to be a Trim control. The S1 & S2 buttons can be configured for various functions or GPIO control.

Figure 3 shows all the rotary controls controlling Input trim, all the S1 buttons switching Input 1/2 and all the S2 buttons switching Layers A / B. In addition to console wide function each rotary, S1 & S2 button can be set to perform a different function or GPIO control using Custom Strip Configuration.

This custom function is kept separately and overridden by selecting any function other than “Custom”. When “Custom” is reselected its custom function is restored. See “CUSTOM STRIP CONFIGURATION” on page 65.

FIGURE 3 - STRIP USER CONTROLS

Group Input Controls

When a stereo or mono group is accessed an input trim control is available from the input screen as shown in Figure 4. Path leg routing buttons are also provided for stereo groups:

FIGURE 4 - GROUP INPUT CONTROLS

Linking Input 1 and Input 2 Trims

Inputs 1 and 2 have separate input trim controls. These can be linked from the Tools menu on the Access> Input screen as shown in Figure 5. The wording on the Control Cell changes to show the words ‘Trims Linked’ between the Input 1 and Input 2 source identifiers. The display on the screen also shows the fact that the Input trims are linked.

FIGURE 5

-LINK TRIMS

82 BRIO 36 Audio Production System with Optional Networking GETTING SIGNALS IN AND OUT

Replay

Replay allows the user to select a number of channels to switch between input 1 and input 2 from one control which can be a user button or be controlled from the screen. This is also achieved from the Settings menu on the Access>Input screen shown in Figure 5 above. The user then selects paths for replay using the ACCESS keys. See Figure 6. The fader displays change to say ‘REPLAY’ rather that not in replay’ as appropriate.

FIGURE 6

-REPLAY CHANNEL SELECTOR

When Replay is active these channels will switch to Input 2, when Replay is turned off the input channels switch back to input 1. Replay makes setting up a virtual sound check easy. With the sources connected to input 1 each source is sent to a recorder and its returns are connected to input 2.

When the talent leaves the user can turn replay on, play the recording and continue the sound check. On completion the replay is turned off to switch all the inputs back to the live sources. Note: Replay can also be controlled from a GPI if required. Figure 7 shows system in Replay.

FIGURE 7

-SYSTEM IN REPLAY

Stereo & 5.1 path spill leg access and independence for Input settings

From version v1.1 Brio can access each spill leg of a Stereo or 5.1 path and allow parameter changes to be made on each spill leg. Figure 8 shows the ‘Full Path’ button being pressed which brings up the Spill Legs Access pop-up. The user selects which spill leg they wish to examine/alter and the screen then accesses that leg as shown in Figure 9. Note: this button appears on all access pages.

FIGURE 8

-SPILL LEG SELECTOR

Figure 9 shows the ‘LR Only’ spill legs on the Input page. As this is a Stereo spill leg all the controls that would normally appear for a Stereo path are made available. The ‘LsRs’ spill leg appears with the same stereo parameters controls as shown here for the LR spill legs. Note the Mic Gain for this spill leg.

FIGURE 9

-LR ONLY SPILL LEG SELECTED

84 BRIO 36 Audio Production System with Optional Networking GETTING SIGNALS IN AND OUT

Figure 10 shows the ‘C Only’ spill leg on the Input page. As this is a Mono spill leg all the controls that would normally appear for a Mono path are made available. The ‘LFE’spill leg appears with the same mono parameters controls as shown here for the C spill leg. Note the Mic Gain for this spill leg.

FIGURE 10

-C ONLY SPILL LEG SELECTED

Figure 11 shows the ‘Full Path’ on the Input page. As this is the 5.1 Channel it shows the combined effect of the changes made on the spill legs. For instance the Mic Gain shows the Highest and Lowest Mic Gain setting made on the spill legs as a combined display..

FIGURE 11

-FULL PATH SELECTED

SOURCE AND DESTINATION PROTECTION

Source and destination protection is a simple system using pop-ups and buttons to protect input parameter settings and output destinations when ports are in use by multiple users across a Hydra2 network.

When viewing inputs on Brio 36, the user will notice if it is being shared, as the following label will be displayed:

FIGURE 1 - INPUT PROTECTED

The same protection applies if the port has been ‘protected’ within H2O, in this case, the following will be displayed:

FIGURE 2 - INPUT PROTECTED BY H2O

86 BRIO 36 Audio Production System with Optional Networking GETTING SIGNALS IN AND OUT

Destination Protection

Figure 3 shows the I/O port patching screen during the process of making a source to destination connection. A ‘traffic-light’ colour coding system is used. The coloured arrows indicate any issues associated with the potential source to destination patch.

• A green arrow indicates that there is no source currently connected to the destination so the patch can be made with no issues.

• The yellow arrow indicates that currently the destination has a local source connected to it.

• The red arrow indicates that the destination has had a source patched to it by another user on the network.

• The grey arrow indicates that the patch will not be made because the user has been denied access to the port by the network administrator.

If the user decides to go ahead with the patch and the indication arrow is either red or yellow, the protection pop-up shown below will appear as an extra level of protection, allowing them to review all potential changes before committing.

FIGURE 3 - PROTECTION ARROWS

Source Protection

Audio sources can be shared by all consoles on the Hydra2 network. Source protection adds an layer of protection when making changes to the following input controls:

• Mic/line gain.

• Phantom power (48 V).

• SRC (if using AES sources).

As indicated in the input control screen, to make changes to these protected input controls, simply tap ENABLE TEMPORARY CONTROL , then make the desired changes. This remains active until the user touches any control outside the input screen, at which point it will need to be activated again to make any changes to the protected input controls. Alternatively hold the Access button for the strip to temporarily enable control over the gain. If adjusting input gain from a strip rotary for a shared input port, the strip display will show that the port is protected.

User Memory Load Protection

Loading a user memory will generally include changes to patching and input controls, if these changes affect shared/ protected inputs, or patching to outputs which are already in use by other users on the network, source and destination protection will come into play.

When a user memory with conflicting settings/patching is loaded, a pop-up, like the one shown below, is displayed on the touch display. The number of pages within the pop-up depends on whether there are conflicts relating to sources, destinations or both.

Once the user has checked all conflicts and selected those that they wish to accept, they tap OVERWRITE SOURCE & DESTINATION SETTINGS. Tapping DON’T MAKE ANY CHANGES rejects all changes to shared sources and destinations, but makes all other changes associated with the memory load.

It is important to ensure that the user fully understands the effect of any accepted changes as they will be directly affecting other users on the network.

FIGURE 4 - SOURCE AND DESTINATION POP-UP—MEMORY LOAD

88 BRIO 36 Audio Production System with Optional Networking GETTING SIGNALS IN AND OUT

EXTERNAL INPUTS

Brio 36 has a pool of 48 mono external input resources from which the user can create any combination of mono, stereo and 5.1 inputs, using one, two or six resources respectively. External inputs can be monitored and metered and are available as patching destinations within the I/O patching screen.

External inputs are typically used to monitor down-stream feeds or ‘off-air’ returns to ensure the console output is not being compromised on its way to its intended destination.

To view the external inputs screen, tap SHOW SETTINGS at the bottom of the Show menu, then tap EXTERNAL

INPUTS.

Creating External Inputs

Within the external inputs screen, select one or more cells using one of the following options:

• Tap to select a single cell.

• Touch and drag to select multiple cells.

• Tap, then drag selection handles to select multiple cells.

... then tap NEW.

Select a path width from the pop-up—mono, stereo and 5.1—and the selected cells are populated with that choice. Note: within the pop-up the number of remaining external input resources is displayed.

FIGURE 1 - CREATING EXTERNAL INPUTS

Removing External Inputs

To remove external inputs:

1. Select one or more external input cells using one of the methods described above.

2. Tap DELETE .

3. A pop-up appears showing all external input paths to be deleted, tap DELETE to accept. The deleted resources are returned to the resource pool to allow more external inputs to be created.

Labelling External Inputs

By default, external inputs have labels which correspond to the cell that they were created in, for example “External Input 5” in cell 5. The user may wish to add your own labels. To do this:

1. Select one or more external inputs using one of the methods described above.

2. Tap EDIT LABEL .

3. The control screen footer changes to text input mode, with navigation buttons: PREVIOUS, NEXT , DONE and CANCEL . Move between the external inputs and edit each label individually either by using these buttons or by tapping on the individual text fields.

4. Once happy with your labels, tap DONE .

Patching to External Inputs

External inputs appear within the ‘desk connections’ patching destination list. They can be patched-to using the usual method, as described here: ”INPUT AND OUTPUT PATCHING” on page 74.

Monitoring External Inputs

To monitor an external input:

1. Tap the console monitor source selection button in the monitor bar.

2. Select the EXTERNAL INPUTS tab within the pop-up.

3. Select the external input that you would like to monitor.

Monitoring is explained in detail here: “MONITOR CONTROLS” on page 150

90 BRIO 36 Audio Production System with Optional Networking GETTING SIGNALS IN AND OUT

FIGURE 2 - MONITORING POP-UP—EXTERNAL INPUTS

Metering External Inputs

To meter an external input:

1. Tap one of the four meter selectors to the bottom right of the touch display.

2. Select the external input tab within the pop-up.

3. Select the external input that you wish to meter.

Metering is explained in more detail here: ”METER TYPES” on page 158.

FIGURE 3 - METERING EXTERNAL INPUTS

DIRECT OUTPUTS

Direct outputs are path specific desk outputs, available to Channels and Groups, which are available for patching. Brio has a pool of 64 resources, which is shared between direct outputs and mix minus outputs.

Assigning a Direct Output

To assign a direct output to a path:

1. In ‘active Show’ view, tap the direct output routing tab.

2. Tap MONO, STEREO or 5.1 to choose a direct output width.

3. If not enough resources are available for the output that the user wants to create they can remove other direct / mix minus outputs to free-up resources.

Note: within the pop-up the number of remaining direct / mix minus resources is displayed.

Removing a Direct Output

To remove a direct output:

1. Tap to choose NO PATH from the path width drop-down menu in the direct output control screen header.

2. A pop-up will appear asking the user to confirm the removal of the direct output, tap either REMOVE OUTPUT or

CANCEL .

Downmix/Spill

If a direct output is assigned to a surround path, that is narrower than the path width, two options appear to the bottom of the direct output screen that allow the user to set whether the downmix or spill faders are used for downmixing the path to mono or stereo. See ”DOWNMIXING” on page 180 for more information.

Direct Output Controls

• Tap the width drop-down menu to change the width of the direct output or select ‘no width’ to remove it.

• Tone: Tap to inject tone into the direct output, replacing the direct output feed with the correct tone for the width of

the path.

• Direct Output Patching: The direct output’s patch destination is displayed.

• Level: Turn the level rotary control to alter the level of the direct output between ‘off’ and +10 dB.

• Send Position: Direct outputs can be taken at different points in the associated path’s signal flow, pre EQ, pre fader

or post fader.

• Use Downmix Levels: If the direct output’s associated path is 5.1 and the direct output is stereo or mono the user can

choose whether or not to use the downmix fader levels during the downmixing process.

• AFL: Tapping AFL replaces the console monitor source with the direct output feed, post level control, providing a

non-destructive solo for the direct output.

• Output Listen: Similar to AFL but the feed is taken post output delay.

• Talkback: Replaces the direct output feed with whatever is routed to the talkback input.

92 BRIO 36 Audio Production System with Optional Networking GETTING SIGNALS IN AND OUT

FIGURE 1 - THE DIRECT OUTPUT SCREEN

MIX MINUS OUTPUTS

Mix minus outputs are path-specific desk outputs, which are available for patching. Brio has a pool of 64 resources which is shared between mix minus outputs and direct outputs.

Mix minus outputs are used to create foldback feeds using a comprehensive contribution system for defining the paths or buses that feed the output. See “MIX MINUS” on page 167 for detailed information on how to set up and use the mix minus system, including a list of all mix minus controls.

Assigning a Mix Minus Output

To assign a mix minus output:

1. In ‘active Show’ view, tap the mix minus output routing tab.

2. Tap MONO or STEREO to select the mix minus output width to be created for the currently accessed path.

If not enough resources are available for the desired output, the user can remove other direct/mix minus outputs to free-up resources. Note: at the bottom of the pop-up the number of remaining resources is displayed.

Removing a Mix Minus Output

To remove a mix minus output:

1. Choose NO PATH from the path width drop-down menu in the mix minus control screen header.

2. A pop-up will appear asking the user to confirm the removal of the mix minus output. Tap either REMOVE OUTPUT or CANCEL .

94 BRIO 36 Audio Production System with Optional Networking GETTING SIGNALS IN AND OUT

BUS OUTPUTS

Brio 36’s bus outputs—up to 4 mains & up to 24 auxes—are available for patching from the I/O patching screen. Bus outputs appear under desk outputs in the sources screen.

Multiple paths can be routed to each bus using the routing tabs down the right hand side of the control screen.

See ”ROUTING A SIGNAL” on page 176 for more detailed information.

Mains

Mains are generally used as main broadcast outputs of the system as well as to feed monitoring systems. Two versions of each main are available for patching out of the system: main and main (pre talkback and tone). Main (pre talkback and tone) is generally used for monitoring output, for example, during rehearsals.

Auxes

Auxes are generally used to feed external signal processing devices or to create Interruptable foldback feeds. For each path, auxes have individual level controls and send position switches for each of the 24 aux feeds, allowing a high level of control over up to 24 separate mixes. Auxes also have an additional level of logic control, allowing you to set conditions under which each pre fader aux send should be cut.

See “BUSES AND OUTPUTS” on page 174 for more detailed information on using and configuring buses.

Note: If Group Bus Outputs are required then this is achieved by assigning Direct Outputs to the Group paths.

TONE AND OSCILLATOR

Brio 36 provides many ways to inject tone within the system to help with path-checking and line-up.

Routing Tone to a Channel

1. Press the fader ACCESS button for the channel to inject tone into.

2. Tap the input processing tab.

3. Tap TONE in the input control screen header.

It is easy to see if tone has been routed to a channel input as a note appears in the input screen as shown in Figure 1.

FIGURE 1 - TONE TO CHANNEL INDICATOR

Routing Tone to Buses

1. Tap BUSES & OUTPUTS in the Show menu.

2. Select the Group/Aux/Main tab depending on which bus/output type to route tone to.

3. Tap TONE for the chosen bus/output. (Tone is shown routed to Main 1,2,3 & 4 in Figure 2).

FIGURE 2 -

ROUTING TONE TO A BUS OR OUTPUT

96 BRIO 36 Audio Production System with Optional Networking GETTING SIGNALS IN AND OUT

Routing Tone to Path Outputs

1. Select either the mix minus or direct output routing tab.

2. Tap TONE in the control screen for mix minus outputs or in the control screen header for direct outputs.

FIGURE 3 - ROUTING TONE TO A MIX MINUS OUTPUT

FIGURE 4 - ROUTING TONE TO A DIRECT OUTPUT

Note: buttons that route tone to audio paths are disabled whilst the console is in On-Air mode, and entering on-Air mode will also clear any tone routing that is active.

Oscillator Controls

Internal tone signals are generated by Brio 36’s oscillator which can be controlled from the oscillator setup area. To access this, tap OSCILLATOR in the Show menu. Brio has one internal oscillator which is controlled using the two rotary controls towards the bottom of the screen: level and frequency. The user can set the oscillator to generate a fixed tone at the specified frequency, or a stepped 20 Hz to 20 kHz tone sweep.

Different tone sources can be set for each path width (mono, stereo and 5.1) using the internal and external tone source buttons. Selecting INTERNAL uses Brio internal oscillator as the tone source for that path width, whereas selecting EXTERNAL uses the feed that is currently patched to Brio 36’s external tone input. Each leg of a stereo or 5.1 tone source can be muted individually.

FIGURE 5 - OSCILLATOR CONTROLS

Clearing Tone

Tap CLEAR TONE at the bottom of the OSCILLATOR screen to quickly switch off all tone on all paths.

Tone and Talkback Active Notification

Notifications appear in the main header when any tone or talkback is active. The notifications can be tapped to clear all tone or talkback. See Figure 6.

FIGURE 6 - TONE AND TALKBACK ACTIVE NOTIFICATIONS

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Tone Idents

Ident Description Width

L Only

Similar to the EBU ident specification. The tone routed to the left

hand audio channel is repeatedly interrupted while the right channel

remains constant (stereo paths only).

Stereo

L=1, R=2

Similar to the GLITS ident specification. Tone is repeatedly inter

rupted on both left and right channels. Each interruption on the left

channel is followed by two interruptions on the right channel.

Stereo

BLITS “NORM”

First, a short burst of tone is applied to each of the six channels, one

at a time, in order. Four different frequencies of tone are used at this

stage to help ID the channels—L/R outputs at 880 Hz, center at

1320 Hz, LFE at 82.5 Hz, Ls/Rs at 660 Hz. This is followed by 1kHz

tone on the L and R legs only. The right channel is continuous, whilst

the left channel is repeatedly interrupted. The last stage of the cycle

applies 2 kHz tone on all six channels simultaneously before begin-

ning the cycle again. Each cycle lasts approximately13 seconds.

The different fre

quencies used help to identify each part of the

cycle, for example, if 1 kHz can be heard anywhere other than front

L/R, there must be a problem with routing or patching.

5.1

Tone idents are variations in the tone signal used to identify legs of multichannel paths when verifying routing and patching. To set an ident for a stereo or 5.1 path, tap the IDENT selector button in the oscillator screen for the chosen

path width to display a pop-up menu populated with path width specific ident options, as shown in the following table:

Width

FIGURE 7 - TONE IDENT TABLE

100 BRIO 36 Audio Production System with Optional Networking

Calrec BRIO 36 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

CONTENTS

PRODUCT INFORMATION

INFORMATION

Repairs

Standard of Service

Serial Numbers

After Sales Modifications

Installation

Service Personnel

Third Party Equipment

ESD (Static) Handling Procedures

RoHS Legislation

ISO 9001 and ANAB Registered

HEALTH AND SAFETY

Important Safety Instructions

Cleaning

Explanation of Warning Symbols

Earthing

Lithium Battery Replacement

PACKAGE CONTENTS

SYSTEM OVERVIEW

SURFACE OVERVIEW

CONTROL SURFACE SECTIONS

Fader Strip

Fader Display

Control Cell Display

Screen Area

Talkback Microphone

Context Based Rotary Controls

Console Monitors

Studio Monitors

Linking Paths

Surface Layers

Global User Buttons

TOUCH INTERFACE

Touch Display Views

INPUTS, OUTPUTS AND BUSES

Identifying Paths

Inputs

Buses

Bus Outputs

Path Outputs

Console Outputs

Inserts

HYDRA2 PATCHBAYS

Console Specific or Shared

Remote Patching

Port Sharing

Unpatching

Hydra2 Patchbays at different sample rates

INTERFACING STYLES

Physical Controls

Touch Display

LAYERS

Layer Switching Options

Surface Layer Pop-up

96KHZ OVERVIEW FOR BRIO 36

SETTING UP

GENERAL

General Settings

Surround Leg Suffixes

Date and Time

ENERGY SAVER

Brightness

Surface Sleep

SYNCHRONISATION

Synchronisation at different sample rates:

Reset to First Source

Sources and Frame-Rates

HYDRA2 CONFIGURATION

System ID Change

H2O Change

Auto Promote

REQUIRED I/O BOXES

Viewing Resources

Adding and Removing Resources